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Pinky Pinky (Ronaldo)
Penny Siopis
Artwork 2002
Penny Siopis' lithographic print 'Pinky Pinky (Ronaldo)'.
Artwork: Penny Siopis, Pinky Pinky (Ronaldo) (2002). Lithograph. 38 x 50.5 cm. Courtesy of Alexander Richards.
Artist Penny Siopis Title Pinky Pinky (Ronaldo) Date 2002 Materials Lithograph Dimensions 38 x 50.5 cm Edition Artist's proof Credit Courtesy of Alexander Richards

From Phokeng Tshepo Setai and Alexander Richards, the curators of Exhibition Match '22:

Pinky Pinky (Ronaldo) plays on two pop-cultural figures: the legendary Brazilian striker Luis Ronaldo, and the malevolent mythical figure popularly known in South African townships as Pinky Pinky – the latter mocking Ronaldo’s distinctive hairstyle, which he donned in the 2002 Korea-Japan Soccer World Cup Final.

In describing Penny Siopis’ practice, a necessary caveat: it is too slippery in form, too wide-ranging in ambition, to be distilled to pithy statement. Hers is an “aesthetic of accumulation,” a logic of excess, a hoarding of signs. Edges, boundary lines, beginnings and endings, states of change – these are among the subjects that inform her enquiries. As to a single preoccupation, the artist offers residue. A ‘historical materialist’, Siopis looks to the traces of past action, asks after the material vibrancy of artefacts made and found; what they might recall of their provenance. She moves between modes with limber agility, playing the roles of both artist and archivist. While predominantly a painter, Siopis’ practice extends to include found film and objects in a sustained meditation on trauma as it appears, the artist writes, “in material amalgam.” From her early ‘history’ paintings to Will, a growing collection of objects and their anecdotes to be bequeathed to friends and family at the artist’s death, loss (past, forthcoming) is a constant undertone. Pursuing a “poetics of vulnerability”, Siopis transcribes, however obliquely, shared and individual griefs – punctuated by small moments of material transcendence – in the inherited images and historical flotsam, in the residue, with which she works.