Pieter Lategan | STUDIO - Visual artist and writer working between figuration and abstraction.
My work explores stillness, inward presence, and quiet authority within contemporary African life through a painterly language I describe as Quiet Monumentalism.
This is a digital structural design by Pieter Lategan, created in 2026 in Pretoria, South Africa.
The work forms part of ongoing research into Quiet / Silent Monumentalism, exploring repetition, weight, and silence through restrained structure rather than narrative or illustration.
Structural Garment Study (Digital Fashion Research)
This digital garment study explores Quiet Monumentalism through structure rather than surface design.
The form is constructed from repeated angular units, focusing on panel logic, seam placement, and fold systems.
There is no pattern or decoration; weight and balance are achieved through repetition and restraint.
Digital fashion research by Pieter Lategan, 2026, Pretoria, South Africa.
This installation research explores Quiet Monumentalism through the repetition of a single angular structural unit.
Each element is identical in logic and dimension, allowing weight and balance to emerge through spatial arrangement rather than narrative or symbolism.
Negative space functions as a primary material, shaping how the structures stand, relate, and hold silence within the space.
This study reflects an investigation into Silent Architecture as a disciplined extension of Quiet Monumentalism.
Digital installation research by Pieter Lategan, 2026, Pretoria, South Africa.
This digital pencil study presents the seated figure of The Priest removed from its architectural context. The body folds inward, resting on itself, with the head supported by the hand in a posture of contained reflection.
The drawing focuses on structure, weight, and inward presence rather than expression or story. The figure is treated as form and mass, emphasizing restraint, stillness, and internal gravity — central to the language of Silent Monumentalism.
This image presents two digital pencil structure studies of The Priest, focusing exclusively on the seated body and its physical organization.
The left study shows a light under-drawing used to establish posture, axis lines, and proportional relationships. The right study develops this structure into simplified block forms and body mass, clarifying weight, balance, and spatial grounding.
No attention is given to facial expression, clothing detail, or surface texture. The drawings exist purely to understand the body as structure and mass within a seated, inward posture.
This image presents two digital pencil structure studies of The Priest, focusing exclusively on the seated body and its physical organization.
The left study shows a light under-drawing used to establish posture, axis lines, and proportional relationships. The right study develops this structure into simplified block forms and body mass, clarifying weight, balance, and spatial grounding.
No attention is given to facial expression, clothing detail, or surface texture. The drawings exist purely to understand the body as structure and mass within a seated, inward posture.
The Priest Background
Digital pencil drawing Pieter Lategan | STUDIO
This digital pencil study isolates the architectural background of The Priest.
An arched recess defines the space, constructed through soft cross-hatching and restrained tonal variation. The surface carries quiet ornamental traces, but remains structurally dominant rather than decorative.
The background functions as a container for stillness — a spatial field designed to hold presence without narrative. It is intentionally empty, allowing weight, silence, and inward tension to exist before the figure is introduced.
Digital design (study), 6 January 2026 Time: 14:30 (SAST) Pretoria, South Africa Pieter Lategan
Structural Pose Study — The Priest
Quiet / Silent Monumentalism
This work forms part of an ongoing body of work developed within my Quiet / Silent Monumentalism framework. It is conceived as a structural and tonal study, focusing on inward presence, gravity, and restraint rather than narrative or symbolism.
The figure is seated and inward-turned, grounded through weight and compression. Gesture is withheld. Expression is restrained. The work prioritises presence over explanation, silence over drama, and dignity over spectacle.
Colour is treated structurally rather than expressively, using muted, restrained tones to establish mass and stillness. The environment remains minimal and architectural, allowing the figure to hold the space without distraction.
This digital study serves as a preparatory work and will be translated into physical paint. Further refinement will occur through material process rather than conceptual expansion.
The Priest Drawing Pieter Lategan - 6 January 2026 Pretoria, South Africa
Structural Pose Study — The Priest
Pieter Lategan, 6 January 2026
Pretoria, South Africa
Digital artwork (in progress), 5 January 2026 Pieter Lategan
Quiet Monumentalism Study
This image forms part of an ongoing body of work developed within my Quiet / Silent Monumentalism framework. The work is currently in progress and functions as a structural and tonal study rather than a resolved statement.
The figure is abstracted and inward-turned, constructed through weight, compression, and restraint rather than narrative or symbolism. Colour is treated structurally rather than expressively, with muted greens and worn gold traces used to establish presence and gravity rather than decoration.
The image does not depict a specific individual, historical figure, or narrative moment. It exists as a formal investigation into stillness, inward presence, and monumental restraint.
Further refinement and translation into physical painting will follow.
This study was developed through an internal studio framework focused on structural clarity, balance, and restraint.
Digital artwork (in progress), 2026 Pieter Lategan
Background study for The Priest - Pieter Lategan Digital ground, 1 January 2026 Square format (1m × 1m)
Gilded Ground (Quiet Monumentalism)
Background study for The Priest
Digital ground, 2026
Square format (1m × 1m)
Technical specifications
Final format: 100 × 100 cm (1m × 1m)
Aspect ratio: 1:1 (square)
Resolution for painting reference / print: 300 DPI
Status: Locked master ground
Use: Fixed background for oil paintings and related studies
This background is created as a standalone ground and is not intended to change between works. The figure will enter and leave this space, but the ground remains constant.
Concept and use
The background functions as a holding space, not as decoration. It suggests architectural memory rather than a specific location. While the curved form and spatial logic are informed by North African and Moroccan mosque interiors, the image does not describe a literal mosque. It remains deliberately open, architectural, and inward.
Gold is used not as ornament or symbolism, but as surface memory — worn, layered, uneven, and restrained. The gold tones are intended to feel aged and absorbed into the structure, closer to patina than to brilliance.
The background establishes:
stillness
gravity
inward space
silence
It allows the figure to exist without narrative instruction.
Colour and material intention
The palette is built around:
muted gold
deep earth tones
softened shadow
restrained contrast
In the final oil painting, this effect will be achieved through layered underpainting, glazing, and selective use of metallic or mineral-based gold tones, applied sparingly and worked back into the surface rather than sitting on top of it.
Painting process (recommended order)
The background will be painted first, before the figure.
This allows:
the ground to settle visually and emotionally
the figure to respond to the space, not dominate it
correct control of scale, gravity, and tone
The figure will be developed afterward, directly into the established ground.
Authorship note
This background was conceived, developed, and authored as part of the ongoing body of work Quiet Monumentalism. It exists as an independent component within the work and may be reused consistently across related paintings.
The Priest (Study)
Digital image
Pieter Lategan, 1 January 2026
Pieter Lategan, 2026
Oil painting (in progress)
The Priest is part of an ongoing body of work exploring inward presence, dignity, and restraint within contemporary African life.
The figure is not symbolic and not narrative. He is seated, inward-turned, and suspended in thought. The posture—heavily tilted, asymmetrical, and weighted—draws structurally from early modern figurative painting, particularly the inward poses found in Irma Stern’s work. These references are not quoted but absorbed, forming the physical grammar of the image.
Colour operates with similar restraint. The controlled skin tones recall mid-century portrait logic, while the silver-white architectural background creates space rather than context. Nothing is described beyond what is necessary for presence.
Set within a Moroccan context, The Priest reflects a living African religious landscape without illustration or spectacle. The painting resists explanation. It asks for attention rather than interpretation.
This work belongs to what I describe as Quiet Monumentalism—a contemporary painterly language concerned with weight, stillness, and the authority of silence.
— Pieter Lategan
Pretoria, South Africa
2026
Development note: This work forms part of a long-term inquiry. An earlier research post from 2024, reflecting on the painter Frans Claerhout and the figure of The Priest, marked an initial point of reflection that later informed this study.
Video: Handbag Video 1 - Pieter Lategan | STUDIO 11 January 2026
Video: Handbag Video 2 - Pieter Lategan | STUDIO
Video: Handbag Video 3 - Pieter Lategan | STUDIO
Handbag Pattern Design: Width 30cm x Height 25cm X 2 - Pieter Lategan | STUDIO 11 January 2026
Important Studio Note: Design Studies Not Approved for Production
This post documents design studies and visual explorations that are not approved for production by Pieter Lategan | STUDIO.
These images form part of my internal design and research process. They are shared for transparency and documentation only, and do not represent finished products or items intended for manufacture, sale, or licensing.
The designs shown here are explicitly excluded from future production. They may contain unresolved structural, material, or conceptual elements and are retained as part of the studio’s development archive.
No individual, company, or manufacturer is authorised to reproduce, manufacture, distribute, adapt, or commercialise these designs in any form.
Any unauthorised use, replication, or commercial exploitation of these works — including by copycat or counterfeit producers — constitutes a violation of copyright and studio policy.
Pencil line drawing derived from the abstract form, used to study structure and proportion. Pieter Lategan | STUDIO -10 January 2026
Video: Pieter Lategan | STUDIO - 10 January 2026
Fabric Study — Concept in Progress
This video shows an early exploration of fabric options for a sculptural bag concept currently in development.
The materials shown are not final selections, but part of a tactile thinking process — considering weight, texture, flexibility, and how fabric holds form.
The intention is to create a hand-made piece, where the fabric will be carefully selected in dialogue with the object’s structure and use.
Material choice will be guided by restraint, durability, and presence rather than decoration.
This is a working study.
Final fabric, colour, and construction will be decided through making.
Quiet Monumentalism — Structural Object Study I - Pieter Lategan | STUDIO 2026
Structural Form Study — Bag Concept I
This image represents an early process study rather than a finished design.
The starting point was a Quiet / Silent Monumentalism figure study. I removed the background entirely, isolating the abstracted form so that only mass, weight, and structure remained. What interested me was not the figure as a body, but the figure as volume — a contained presence defined by compression, fold, and gravity.
By stripping the image down to its essential shape, the form could be read differently: not as a person, but as an object with architectural logic. This allowed me to begin thinking about how a sculptural presence might translate into a functional object, such as a bag, without becoming decorative or illustrative.
At this stage, the work is intentionally unresolved. The image documents a way of thinking rather than a solution. It marks a transition point between painting, object, and material exploration, where questions of fabric, structure, and use will be tested slowly and rigorously.
This is a working process. The final outcome may change significantly, but the core concern remains the same: restraint, material intelligence, and form carrying meaning without explanation.
Work in progress, 9 January 2026 - Pretoria, South Africa
Pieter Lategan
Rather than inventing a new form, I consciously studied the seated structure of Henri Matisse’s Blue Nude (1907) |click the link| — not for its colour, sensuality, or expression, but for its compressed mass and seated gravity.
I do not adopt Matisse’s bold colour language. In Silent Monumentalism, colour dominance creates noise and narrative. Stillness must operate before meaning, not through emotional cues. Any reference to blue in my work is subdued, absorbed into grey tonal structure — not to speak, but to carry weight.
The figure in this study is intentionally stripped of theatrical nudity, expressive gesture, and invitation. What remains is a body treated as structure — heavy, grounded, and resistant to interpretation. The posture does not perform. It does not persuade. It exists.
Behind the figure, architectural blocks do not describe a setting. They act as pressure. The background is not empty space — it is resistance. Like air displaced by a wall, negative space here is defined by what cannot exist there.
This work does not belong to a time. It does not reference a moment or event. It is meant to function in any time — not as an image to decode, but as a presence to encounter.
My background in design — medals, graphic systems, branding, and web architecture — has shaped this discipline deeply. Design teaches restraint, hierarchy, and structure. It teaches that speed creates decoration, while slowness builds clarity.
Silent Monumentalism demands slow thinking because it removes shortcuts. It rejects decoration. It refuses story. It leaves the viewer alone — not out of coldness, but out of respect.
These sketches are working notes. They may never become finished paintings. Their purpose is structural understanding, not resolution.
Title: Silent Monumentalism — Structural Study (In Progress)
Medium:
Pencil on paper
Artist:
Pieter Lategan
Pretoria, 2026
Video Title: Silent Monumentalism — Structural Study (In Progress)
Artist: Pieter Lategan Pretoria, 2026
Silent Monumentalism: When Form Must Physically Read
This sketch is not a finished artwork.
It is a structural thinking exercise.
In Silent Monumentalism, a form must read physically before it can be read intellectually. If a structure appears dangerous, unstable, or ready to act, it becomes narrative. Narrative introduces time, expectation, and emotion. That breaks silence.
Here, the figure is not a character. It functions as a structural condition. The arm does not gesture or lift. It presses downward. The figure does not “hold” the architecture as an action; it holds it ontologically — meaning that without the figure, the structure would not exist at all.
This distinction is critical.
If something looks as if it could happen, it is no longer Silent Monumentalism.
Remember: “If something can happen, it is not Silent Monumentalism.”
The next sketch resolves remaining instability by redistributing load and removing any line that suggests potential movement.
This work stands.
Nothing happens.
Nothing will happen.
It is simply there.
Authorship Statement — Pieter Lategan
Silent Monumentalism is a discipline developed and documented by Pieter Lategan.
It is grounded in structural logic rather than style, working through mass, weight, resistance, and restraint. Meaning is not instructed or narrated but emerges through physical presence and spatial fact. The discipline prioritizes repeatable systems over expressive variation, allowing the work to exist across drawing, painting, sculpture, and design without dependence on symbolism or emotional display. Since 2026, Silent Monumentalism has been developed as an authored framework through ongoing practice, documentation, and applied studies.
Option 1 (professional / planning): Preliminary Wall Plan for Solo Exhibition (Working Sketch), 2027
Working Wall Plan – Preliminary Exhibition Layout (Sketch)
This hand-drawn sketch represents an early wall-plan study for a planned solo exhibition.
The drawing shows two vertical wall sections, each intended to hold a single large-scale painting measuring approximately 1m (width) x 1.5m (height). The paintings are positioned centrally on their respective walls to allow each work to stand independently, without visual crowding.
Between the two paintings, a clear horizontal distance of approximately 3 meters is indicated. This spacing is intentional and reflects a core principle of the work: generous negative space that allows stillness, pause, and physical distance for the viewer. The spacing is not decorative but structural, supporting the concept of Quiet / Silent Monumentalism.
The sketch also notes:
Viewer standing zone in front of the works, allowing comfortable viewing distance
A frontal, direct relationship between viewer and painting
An emphasis on height over width, reinforcing vertical presence and inward focus
The layout is not decorative or salon-style; it is conceived as a measured, restrained installation, where each painting functions as a self-contained presence rather than part of a dense visual sequence.
This sketch serves as a conceptual planning tool, not a final installation plan, and reflects early thinking around scale, spacing, and viewer movement within the exhibition space.
This exhibition is being developed slowly and deliberately, as a continuation of my ongoing practice exploring Quiet / Silent Monumentalism — a body of work focused on stillness, inward presence, and structural restraint rather than narrative or spectacle.
The planned exhibition will consist of approximately twelve paintings, each measuring roughly 1m (width) x 1.5m (height). These works are conceived as a coherent group rather than individual statements, with careful attention given to spacing, rhythm, and how the viewer moves through the room. I am currently working with the idea of allowing generous space around each painting, so that each work can exist without visual pressure or distraction.
At this stage, I am focusing on:
Building the body of work in the studio
Testing scale and proportion
Refining material choices and surface treatment
Thinking carefully about installation and spatial flow
The exhibition is intended to be my first solo presentation, and I am approaching it with both commitment and humility. While I am already actively working on the paintings, I am also seeking guidance and clarity around professional exhibition standards, spatial requirements, and realistic timelines.
Details regarding the venue and dates will only be shared once plans are confirmed. For now, this post serves as a marker of intent — a public acknowledgment that the work is underway.
As with all my work, the process is documented here as part of the practice itself.
—
Pieter Lategan Planing Notes: Solo Exhibition 2027
Maria joined Pieter Lategan – STUDIO in January 2026
Maria — Studio Assistant | Pieter Lategan – STUDIO
Maria joins Pieter Lategan – STUDIO as a studio assistant and creative support presence.
She brings with her a lifetime of quiet artistic practice, sensitivity to process, and a deep respect for making. Maria works gently alongside the studio’s ongoing explorations in painting, drawing, research, and material thinking.
Her role is not decorative or performative. She supports the studio through care, observation, and steady contribution — helping maintain focus, continuity, and calm within the working environment.
Maria’s presence reflects the studio’s commitment to discipline, attentiveness, and long-term artistic development.
Maria grew up in Cape Town and completed her schooling up to matric level. She is a self-taught artist with nearly 40 years of independent painting practice.
Her work is rooted in close observation and repetition rather than formal instruction. Over the years, she has developed a strong personal relationship with painting, particularly floral subjects, approached with patience and care.
Background & Experience
Self-taught painter with decades of hands-on practice
Strong intuitive understanding of colour, form, and surface
Experience working independently and within quiet studio environments
Deep appreciation for reading, reflection, and slow creative processes
Role in the Studio
Assisting with studio organisation and preparation
Supporting painting and drawing processes
Helping maintain a calm, focused working atmosphere
Assisting with material handling and studio routines
Providing practical support without interrupting artistic flow
Personal Notes
Maria lives in Centurion, Pretoria, South Africa where she shares her home with her dog.
She is married; her husband works as a jeweller, which has further shaped her appreciation for craft, precision, and material integrity.
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