DAVID BRITS  

David Brits is an award-winning social impact artist whose experimental métier is dedicated to investigations in public-scale sculpture. Equally energised by material exploration and archival investigation, Brits’ practice spans installation, print-making, drawing and film. 


Recent major public sculpture commissions include the Desmond Tutu HIV Foundation, the Spier Arts Trust and the Iziko South African National Gallery.

Brits is the winner of the Rupert Foundation’s inaugural Social Impact Arts Prize and a recipient of the Barbara Fairhead Award for Social Responsibility in Art.


Solo Exhibition:


Time is a Flat Circle
15 September —
13 November 2022 MovArt Lisbon.

Current:

Tears Become Rain: Social Impact Arts Prize film launch & immersive exhibition — Latitudes Online  

Red Edge (Ouroboros 1.3.1) Public Sculpture installed at the Iziko South African National Gallery, Cape Town.


Recent:


Materiality, Group Show at the Iziko South African National Gallery, Cape TownTown.




CV + Bio
Email
Instagram
Studio Map


























































































































































Time is a Flat Circle
15 September — 13 November 2022 Movart, R. João Penha 14A, 1250-025 Lisboa, Portugal. 
Curated by Camila Maissune.

Time is a Flat Circle by South African artist David Brits (b. 1987) comprises a set of photographic works completed between 2010–2012 as well as a series of new carbon fibre sculptures. The exhibition commemorates the 35th anniversary of the Battle of Cuito Cuanavale, a large-scale mechanised tank battle that took place in southern Angola between Angolan, Cuban and South African forces during the years 1987–1988. 

Based in an archive of pictures posted on social media groups by South African ex-conscripts, many of whom fought in South Africa’s so-called “Border War” in Namibia and southern Angola from the 1960ies to the 1980ies, David Brits uses mark-making, erasure and scratching, thus embodying the complexities of working through his own masculinity and inherited history in post-Apartheid South Africa.

Brits’ sculptural works take as their principal archetype the “Ouroboros”, a Greek-derived word describing the symbol of a snake devouring its own tail. The artist brings forth an image whose logic refutes itself, and which somehow suspends time.
︎Solo Exhibition