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Anton Karstel was born in 1968 in Pretoria, South Africa. He completed his BA(FA) at the University of Pretoria in 1990 and MA(FA) in 1995. He is currently living and working in Cape Town and is a full time practising artist.

Ocular, 131 A Gallery, Cape Town
131 A Gallery February group show featuring Jo O’ Connor, Anton Karstel, Mary Visser & Olivie Keck

131 A Gallery group show featuring MJ Lourens, Anton Karstel, Daniel Levi and JP Meyer
Saronsburg wine estate gallery, Tulbagh (SOLO)

Mid-career retrospective 1995 -2018 solo exhibition at the Pretoria Art Museum (SOLO)

Proses, Patroon en Strategie, Association of Visual Art, Cape Town (SOLO)

Trek: Following Journeys, SMAC Art Gallery, Cape Town

Property, Faith & Beauty, and Other Recent Paintings, SMAC Art Gallery, Stellenbosch (SOLO)
Origin and the Present Age, Dachau Palace, Dachau, Germany

Youth Day, SMAC Art Gallery, Cape Town (SOLO)

Nirox Project Space, Johannesburg (SOLO)

Paintings and Photographic Installations (1989-2009), SMAC Art Gallery, Stellenbosch (SOLO)

Kerkraad NG Gemeente Lyttelton-oos, Joao Ferreira Fine Art, Cape Town (SOLO)

Wild Thing, Franchise, Johannesburg (SOLO)
108314N, Pretoria Art Museum (SOLO)

Trail-blaze, Association of Visual Art, Cape Town (SOLO)

Once were Painters (KKNK), Oudshoorn

Extract, Joao Ferreira Fine Art, Cape Town (SOLO)

Wonderful South Africa, Millennium Gallery, Pretoria (SOLO)
Pol-aesthetic, Civic Gallery, Johannesburg (SOLO)

Too Close for Comfort, The Rembrandt Van Rijn Gallery, Johannesburg (SOLO)
Graft (Second Johannesburg Biennale), National Gallery, Cape Town
Purple and Green, Pretoria Art Museum

Earth and Everything, Arnolfini Gallery, Bristol, UK
The Way West, Newtown Galleries, Johannesburg

Springtime in Chile, Museo de Arte Contemporaneo, Santiago, Chile
Brown and Green, Pretoria Art Museum
Laager, Africus Biennale (fringe), Newtown, Johannesburg

Real Art, ICA, Johannesburg

University of Pretoria
Development Bank of Southern Africa
The Pretoria Art Museum
Pretoria Technikon
Merrill Lynch

“In 2017-2018 I started to depart from certain tendencies in my painting. I tended to work with source images that probed and provoked political and historical themes such as ’80s insurgency attacks, apartheid ministers, prurient bikini models, the property market, etc. These paintings tended to be hemmed in by its conceptual ambit. This departure does not mean that I’ve abandoned a mode of working or discontinued certain themes. I think of all my subjects as infinite series. For me these themes and modes of working are strands, which can be dropped or picked up at any time. The new paintings are actually also strands which I abandoned in the early ’90s.”

“I think of the new paintings as a free play. They are unconstrained by any rules or anxiety of influence. Each painting creates a tributary which could branch out in any direction. Some of the works are devoid of any figurative sources, while other works retain shards figuration. I’m not interested in the origin or reality of the figurative source material. They are wrested and fractured bits that serve the reality on the painting’s surface. The images are often drawn randomly from the internet. I would type random letters on the keyboard to find arbitrary images. The paintings are often stylistically incongruous and disjointed. I’m attempting a fluid randomness and irresolution, which leaves space for viewer participation.”