Adriaan Diedericks’ (b. 1990, Cape Town) is a South African sculptor based in Strand, Cape Town. He grew up in rural Piketberg and his upbringing there has had a great impact on his work. After graduating with a Degree in Fine Art from Stellenbosch University in 2012, he did an apprenticeship with Lionel Smit from 2013 until the end of 2014.
Diedericks was a SASOL New Signatures Finalist in 2010 and 2014 and a PPC YCSA Finalist in 2013 where PPC bought his work for their private collection. His work features in prominent art collections such as Quoin Rock Wine Estate, PPC Private Collection, Bartinney Wine Estate and NAC VIP Lounge at Lanseria Airport to name a few. He has placed more than five large public sculptures in Hermanus, Franschhoek, Stellenbosch, Rhineland-Palatinate, Germany and Sainte Radegonde, France.
He also has work in private collections around the world - New York, Los Angeles, London, Berlin and Franschhoek among others.
In 2014, Diedericks was personally invited to take part in Art Fair Strasbourg and Cologne. Since then he has been published in various media such as Effe O’ Arte in Milan, Top Billing and Visi’s Artists to watch and so forth.
At the tender age of 26, Adriaan based himself in Strand and built his own bronze casting foundry in 2016 where he and his team of ten focus exclusively on his own work. In 2017, Diedericks attended the 4th International Artist Symposium along with 9 others at Museum Villa Böhm in Germany where he worked with sandstone for the first time.
"My work attempts to mimic the expansive landscape of my youth. This is evident in the manner in which my practice continually spills forth from drawing into three-dimensionality. Through sculpture I attempt to manipulate the messages inherent to scale and material, having worked in povera substances such as found wood and plastic, often solidifying it in permanence through the use of bronze.
The body as a vessel for power, glory and inevitable humiliation is a key concept within my work - a thought which binds my reflections on masculinity and heraldic histories.
I sculpt with wax, klei and rotten wood which I then cast into resin or bronze and recreate to mimic the original putting my viewer under false pretense and allowing them to question."
"Visually I often also have a “revealed - concealed” Hegelian “master-slave” like approach to my work, from one angle someone might see something entirely different to the other angle.
Often my work manifests from objects and material in my immediate surroundings, making predominant use of rotten wood found in forrests the wood rot’s due to excess water seeping into the centre creating dry rot. I use this in correlation to the Foucauldian theory of “Knowledge is Power” and “absolute power corrupts absolutely”, in the same way the water corrupts the wood.
The wood allows for the “loss of control” as power is something which associates strongly with control, This was often found in ships which came to the cape and in a broader sense the world during the colonial expansion.
My work is never planned, one piece informs the next. For this reason I am using work which I have created as proposed pieces."