Human Form

Emotional qualities carried by such an entity of direct association provides a subject of great emotional proximity. This immediacy is often amplified in Kotze's work by utilizing self-portraits, the artist's own form and people of close association.

The pure complexity of the physical structure of the human form provides a sensual, intriguing and awe-inspiring subject. One that can be manipulated so its physical structure can describe innumerable emotions.

Each portrait and figure study carries its own set of issues, apart from the artist's own concerns there are those of the individual subjects emotional and physical states. Searching for new visual vocabulary to describe insight into her subject's, leads Kotze through her visual journey of image making.

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This emotive and expansive subject has a powerful ability to function as a receptor to personal emotional conditions. Although a traditional subject, as with the figure, these subjects still have the ability to support the myriad of contemporary emotions.

She explores both natural landscape and those which have been moulded by the presence of humanity. We exist in our environment day in and day out, it is unavoidable that we shed our emotional state on our surrounds, their memory being carried by our physical surrounds.

In addition to an emotional embracing of our surrounds, Kotze is also involved with the exploration of the way in which our environments can capture and manipulate light.

Landscape also provides an ideal starting block into the exploration of paint as a subject, its vast planes and textured surfaces are a guide into mark making and paint application forming abstracted surfaces that hold their own.

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This varies greatly from very controlled paint application describing minute details to organic ways of applying paint, dripping, smearing with a pallet knife, scratching, sanding away, throwing turps onto wet paint, letting one painting drip onto another, rubbing wet surfaces onto one another and so on. Each application is adapted in order to fit the intended tone and content of the work.

At times Kotze abandons the "image" in order for the texture, mark, colour and tone to dictate the content of the work. To become fully involved with the process of paint as the subject, it is often necessary to disregard the clutter of the image.

Contrary to this, other works display a mastering of paint's ability to describe the representational image of the subject in order for its form to carry the content of the painting.

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Light and Colour

These are incredibly powerful emotive qualities that reach the human emotion on a very direct level. When harnessed they can dictate the tone and content of a work. Kotze depicts images that adhere strongly to  natural light and colour while other of her images manipulate such elements drawing from emotive devices learnt through her observations of the physical world.

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