Cape Town – Art lovers had the opportunity to engage with a distinctive digital art exhibition at the Ferrari Scuderia showroom situated in the V&A Waterfront, Cape Town.
Titled “Global Digital Art: Walter Benjamin’s Dialogue with Digital Intelligence”, the exhibition, hosted by the Lekker Gallery, showcased the works of seven international digital artists, complemented by one South African artist.
The event featured a discussion led by the celebrated South African wildlife photographer and conservationist, Chris Fallows, whose pieces were included in the display.
Fallows, renowned for his iconic Air Jaws photograph of a breaching Great White shark in False Bay in 2001, shared his experiences and insights on the privilege of capturing incredible moments in nature.
“The future of art resides in the transformation of static images into vibrant digital creations,” remarked Fallows.
His digital artwork, Last One Standing, which addresses the urgent issue of threats to Africa’s wild elephants, is a highlight not to be missed.
The Lekker Gallery exhibition also showcased a digital representation of a Ferrari 458, photographed in Miami, USA, by Italian artist Paolo Regis, titled “Kinetica.”
Founded by Cape Town’s own Damon Crowhurst, Lekker Gallery aims to explore the fusion of art and digital displays.
“Traditional art has played a significant role in shaping our worldview and influencing our thoughts,” noted Crowhurst.
“Dynamic digital art signifies a new phase in the evolution of artistry, enabling creators to articulate their narratives and express their visions in groundbreaking ways.
“It allows artists to infuse a deeper level of soul and emotion into their works.”
Crowhurst collaborates with esteemed international curator Huang Yi to present digital art to a variety of audiences around the globe.
These two artistic innovators have joined forces with the UK-based StART Art fair to support emerging digital talents during London’s Frieze Week in October 2024.
Following the Cape Town exhibition, Crowhurst expressed ambitions to establish Shanghai and Singapore as the next two global outposts for the Lekker Gallery in 2025.
Not merely wall decorations
Crowhurst described the founding of Lekker Gallery as a venture to bridge the gap between display technology and the curation of digital art.
“We are a collaborative collective of technologists, consultants, and artists who curate, create, and implement digital storytelling,” Crowhurst explained.
“Our belief is that art consulting transcends simply filling empty walls with screens; it focuses on making intentional art selections that narrate the unique story of each environment.”
Every artwork is exhibited on a digital canvas.
“As art, our displays can switch from conventional television formats of 16:9 to fully square aspects or even vertical orientations,” Crowhurst elaborated.
“The technology offers a variety of curated canvas shapes.”
“Depending on the essence of a digital artwork, we present it on different digital canvases to amplify the visual engagement of the artist’s creation.
“When acquiring the artwork, the screen becomes an intrinsic part of the artistic expression.”
Crowhurst further explained that Lekker Gallery “curates, sells, and installs artworks for private residences, shopping centers, corporate spaces, and a variety of venues.”
“Many clients have invested in digital displays yet feel they haven’t fully capitalized on their investment.
“Collaborating with the Lekker Gallery allows us to introduce inspiring pieces that elevate these spaces.”
What is the price range for digital art?
As in any market, pricing is influenced by demand, with elements such as the artist’s stature, the artwork’s quality, and its exclusivity heavily impacting value.
“NFTs injected a wave of enthusiasm into the digital art space. However, many of these artworks were rarely regarded beyond a mobile-device experience,” Crowhurst noted.
“The emerging trend showcases a tendency to invest in meaningful art displayed in homes, similar to traditional art collection methods.”
He pointed out that the United States is at the forefront of adopting digital art, while Europe is gradually embracing moving images, and South Africa is catching up.
A work by Refik Anadol can sell for over US $100,000, yet many stunning moving artworks are available in the $2,000 to $10,000 range.
The circulation of individual artworks significantly affects their valuation.
“Naturally, the more exclusive a piece is, and the more renowned the artist, the greater its value,” Crowhurst explained.
“Most of our clients purchase works because they connect with them more deeply or because they enhance the aesthetic of a particular space they envision.”
Alex Stewart from Stewart & Partners, an architecture firm in Cape Town CBD that co-sponsored the exhibition, remarked: “In recent years, we’ve witnessed a growing desire for TVs to serve a purpose beyond being a blank wall feature when not in use, especially in beautifully designed living areas.
“Integrating digital art into the home introduces a value that we anticipate will continue to appreciate.
“Especially since one is no longer confined to a conventional television format.”
What lies ahead for art?
Crowhurst emphasizes that digital art should not be confused with NFTs, which serve a specific purpose. Instead, he argues that the moving digital image represents the next step in the evolution of digital art.
He envisions clients establishing subscriptions to digital art platforms, similar to those for music or podcast streaming services.
In fact, several solutions, like Blackdove and Niio, are already appearing in this field.
“There will always be room for traditional art, and we trust future generations will continue to appreciate the legacy of great artists, but art has always stretched creative limits,” Crowhurst stated.
“Digital art symbolizes the next frontier for how artists view themselves and the environment around them.”
