13.07.25

CHARBON, DOULEUR, OR: UN PORTRAIT CONTEMPORAIN DE LA RÉSISTANCE INTIME

posted by Augustus J Caelthorne

Un artiste sud-africain revisite le dessin comme langage moderne de la mémoire, du chagrin et de la dignité. PARIS — Juillet 2025 Dans une ville où l’art est poésie et mémoire, une voix nouvelle émerge — venue d’Afrique du Sud — qui dessine non pas pour plaire, mais pour se souvenir. La série “I Am In This World, But I Am Not From This World” est un ensemble de portraits monochromes, exécutés en charbon, crayon, encre et acrylique, avec une touche d’or métallique — non pas décoratif, mais symbolique. Chaque œuvre est inspirée d’un événement vécu : violence domestique, rejet, dépression. L’or y est lumière : un éclat de survie. Chaque original est présenté en format A3 avec cadre, accompagné de tirages limités A3 à A0 pour les collectionneurs. “Le dessin au charbon, c’est une langue ancienne — plus proche de la mémoire que de la peinture à l’huile.” Soutenue par The Lady Isabel Foundation, l’initiative artistique s’adresse autant aux galeries qu’aux voix engagées dans la lutte contre les violences faites aux femmes. À Paris, berceau des grandes écoles artistiques et des mouvements humanistes, cette série trouve une résonance immédiate.

13.07.25

A MODERN REVIVAL OF CHARCOAL — AND THE TRUTH IT CAN NO LONGER HIDE

posted by Augustus J Caelthorne

With echoes of Käthe Kollwitz and Egon Schiele, a South African artist revives charcoal as a vessel for trauma and truth. LONDON — July 2025 At a time when much of contemporary art is driven by digital perfection and hyper-saturation, a South African artist is bringing something far older — and far more urgent — to the international stage: charcoal, pencil, ink… and pain. “I Am In This World, But I Am Not From This World” is a series of emotionally charged portraits rendered in monochrome and gold. Rooted in the artist’s own experiences of abuse, rejection and mental health struggle, each work is a visual account of trauma that refuses to be sentimentalised. It is stark. It is clean. It is unflinching. The use of metallic gold, sparing and deliberate, is not for aesthetic flourish but instead a metaphor — for survival, for the fragments of dignity that violence does not erase. Originals are A3 block-mounted works, sold framed, with limited edition giclée prints available up to A0. “We assume oil on canvas is the only language of ‘fine’ art. But there is beauty in rawness. There is truth in graphite.” In a city known for its critical discourse on class, gender, and race, this series sits comfortably within the modern tradition of activist art — quietly powerful, intensely personal, and globally resonant. The project also supports The Lady Isabel Foundation, a South African initiative focused on trauma, healing, and women’s advocacy.

13.07.25

DRAWING THE UNSPEAKABLE: A SURVIVOR’S SERIES ARRIVES WITH RAW POWER

posted by Augustus J Caelthorne

A bold monochrome collection emerges from South Africa — combining charcoal, pencil, ink, gold and grief in a modern visual resistance against gender-based violence. NEW YORK, NY — July 2025 New York has always been a city that listens when art speaks truth. This summer, an emotional and very personal series from South Africa is doing exactly that — with a whisper as sharp as a scream. The new emotionally raw series Titled “I Am In This World, But I Am Not From This World”, by artist Augustus J.N.M. Caelthorne (Caelthorne Art), reintroduces charcoal, pencil and pen as high-concept mediums in contemporary fine art. The artist — whose work sits at the intersection of trauma, memory and monochromatic symbolism — draws not for decoration, but for revelation. Each abstract, expressive artwork is based on a real-life experiences by Caelthorne of rejection, abuse, and mental collapse. Though minimal in palette, the artworks are emotionally maximal. Done with intent to ensure no emotional connection through colour. The touch of metallic gold throughout the series speaks of survival — not glamour — illuminating what remains after pain. That there is beauty in the broken. The A3 original artworks, sold with bespoke block and frame, are available alongside limited edition prints (only 25 prints made available) in sizes A3 to A0. Caelthorne adds that “I was taught to paint pain away, however I wanted to draw it still. To keep it. To honour it. Every line, shadow, expression is tied to the narrative of the respective artworks. Someone once said that being an Artist is more than just a title - it's an act of courage. It's daring to show what we keep hidden. I don't want to hide anything anymore. It's time to heal, through healing others with my own childhood and teenage experiences.” The Artist also supports The Lady Isabel Foundation, which endeavors to help survivors of violence and trauma – specifically women and children. The Foundation will receive a portion of proceeds, strengthening the project’s voice as both visual protest and public healing. New York collectors and curators seeking intimate, socially impactful work will find resonance here — not just in the technique, but in the truth, metaphors and narrative behind it.

13.07.25

CAELTHORNE ART

posted by Augustus J Caelthorne

I am Caelthorne — an inter-disciplinary artist who does not paint for decoration, but for disruption. My work lives in greyscale because the world rarely offers clean answers. Charcoal, graphite, pen and ink, acrylic — these are my languages, and in their stark, stripped-back beauty, I explore the unspoken: the fractured, the silenced, the nearly forgotten. My practice is rooted in a clear and unwavering purpose — to challenge, to confront, and to heal. I create because there are wounds that cannot be voiced in policy, but can be felt through form. Each mark I make is a quiet revolution, etched in honour of those whose stories were erased, whose dignity was dimmed, whose memory still lingers in shadows. I focus on the themes of social justice, identity, and ancestral memory — not as academic concepts, but as lived realities. My art is aligned with The Lady Isabel Foundation, with whom I share a commitment to confronting the often invisible violences that shape women, children, and the vulnerable. Influenced by abstraction, cubism, and at times the soft bend of surrealism, I seek to create work that resists singular interpretation. Instead, my pieces offer space — a space where the viewer’s own conscience becomes the canvas. They are not meant to tell you what to think. They are meant to make you feel — to stir what has long been dormant. There is power in stillness. There is truth in monochrome. There is defiance in choosing softness over spectacle. My work is not complete until it finds the soul it was meant to touch. That is the bridge I build — from the universal wound to the individual eye. This is art as witness. Art as offering. Art as a silent anthem for those who never had one.

03.07.25

ETOR

posted by Iilf Pibo Bitous

Iilf Pibo Bitous