Marguerite Roux was born in 1991 in the Karoo town of Beaufort West. She grew up in Wellington in the Cape Winelands and matriculated from La Rochelle Girls’ High School in Paarl. In 2018 Roux obtained her MA Visual Arts degree from the University of Stellenbosch, prior to which she completed a BAVA (Fine Arts) degree from the same institution in 2014.
In 2014 Roux was awarded the Keith Dietrich Award for students who pass their final year with a distinction as well as the Timo Smuts prize for top academic achiever in Fine Arts. Marguerite Roux is a three-time top 100 finalist in the Sasol New Signatures Award competition.
Since graduating in 2014 Roux has taken part in a number of group exhibitions, including Greatest Hits: The Domestic Odyssey presented by the AVA Gallery in 2015 and Hinterlands: The Keith Dietrich Award Exhibition at GUS in the same year. Most notably Roux’s work has been shown at the 4th Istanbul Design Biennial, in Turkey as part of Emelie Röndahl’s project Google Weaving Stop-Time in 2018 and at the Also Known as Africa (AKAA) Art Fair in Paris, France with Dyman Gallery in 2019.
In this series, I focus on digital text conversations. I weave words that I frequently use and that seems to be essential in many conversations other than my own. Social media platforms are public spaces, yet they ostensibly provide us with the private space we desire to communicate comfortably with one another.
These communication platforms are easy to use and set a casual tone to most conversations (sometimes even in a professional context). This may be because of its transitory facade. Conversations can happen quickly and easily without too much thought around issues of professionalism, privacy and/or permanence.
The colour pink could evoke nostalgia through childhood memories of buying cotton candy, pink milkshakes or strawberry Soft Serve ice creams on a hot Summer’s day. There is a sweet and innocent quality to the work; as there is a light-hearted and innocent quality to text messaging; but it can simultaneously be read as “too much of a good thing”. In this body of work, I hope to convey something of the fun and fleeting side of social media, but with a definitive hint at the negatives that could lurk beneath the surface.