Artwork
Untitled
Untitled is an ink print by Alex Flett. It dates from 2000 and is held in the collection of the Museum of Modern Art.
About this work
Overview
Untitled is a 2000 screenprint by Alex Flett, one of thirty-one works in a mixed-media portfolio. Produced during a residency in South Africa, the piece combines screenprinting with collage and drawn elements. It is held in the collection of The Museum of Modern Art, reflecting its significance within Flett’s broader printmaking practice.
Subject & Meaning
The print depicts three dancers caught in dynamic, overlapping motion, their limbs entwined in abstract forms. The figures suggest movement without narrative clarity, emphasizing physicality over story. The tension between their tangled poses and the empty white ground evokes isolation within collective energy, hinting at themes of connection and dislocation.
Technique & Style
Flett employed screenprinting alongside manual interventions such as ink washes and cut-paper collage. Bold, angular lines and irregular textures convey a sense of urgency, while high-contrast areas of dark ink and untouched paper heighten the figures’ presence. The hand-made quality of the marks reveals the artist’s direct engagement with the surface.
History & Provenance
Created during Flett’s time in South Africa, the work emerged from a focused project exploring movement and cultural expression. The portfolio was later acquired by The Museum of Modern Art, where it remains part of the permanent collection. Its inclusion underscores the institution’s interest in contemporary printmaking with regional resonance.
Context
Flett’s work from this period reflects broader trends in post-apartheid South African art, where artists engaged with the body as a site of memory and transformation. His use of layered, gestural techniques aligns with a generation seeking new visual languages to express complex social realities beyond literal representation.
Legacy
Untitled contributes to a body of work that expanded the possibilities of printmaking through hybrid methods. Flett’s integration of drawing, collage, and screenprinting influenced subsequent artists interested in tactile, non-reductive approaches to image-making, particularly within the context of African contemporary art practices.
Artist & collection
