ABOUT

Singer’s studio goal is to create a condition where people can come together and work meaningfully.

Singer’s practice is highly collaborative, working part time and full time with up to eleven people of varying backgrounds and skills. Architects, welders, engineers, industrial designers, electricians and everyday magicians. 

Together they are able to accomplish projects that involve nuanced fabrication, engineered design and radical material experimentation. This challenges the contemporary art trope that portrays African art making as crude or raw. 

Singer’s practice takes political and social ideologies and, using mathematical strategies, connects it to the sublime. His aesthetic language often employs notions of entropy and links it with greater social etymologies such as myth and symbol. The aim is to make an object that offers the audience an enchanting gaze and, thereafter, allows meaning to unfold between the individual, society, science, and the imperceptible substrate of universal awareness. 

“This offers a way of domesticating and conquering the unseen and inexplicable, a strategy that best engages with the difficulty of our times, finding stasis between order and chaos”, as Dr Ashraf Jamal writes about Singer’s practice “Discord, chaos, and the inevitability of breakdown is a lamentation we cannot afford to indulge” and that when encountering Singer’s work, Jamal was looking at “a fallout – the aftermath of a blast, a world remaindered, without a governing centrifuge. For some this might suggest the apocalyptic, for (Jamal) it also suggested a post post-industrial baroque, because the baroque is an art form with no core center of gravity, an art that hurdles, leaps, breaks the visual and sound barrier.” 

Singer brings baroque gesture and contemporary subject together in the democratic hope of resonating equally with both Hume’s ideal critic and the laymen of Johannesburg.