In an age increasingly shaped by the rapid consumption of images, brands, and stories, it’s easy to overlook the constant noise surrounding us. The world is inundated with stimuli—mass media, advertisements, and pop icons—that can sometimes make us almost immune to the power they once had. This cultural saturation, the overstimulation of modern life, is something that South African artist Fringe explores in his work, offering a critical reflection on this phenomenon. By drawing on the iconography of superheroes, vintage books, and even the overlooked figures of pop culture, Fringe presents a mirror to the world we’ve created—a world where everything, from cartoon characters to celebrities, is reduced to a commodified, algorithmically targeted image. His art invites viewers to reflect on the implications of overconsumption, questioning whether we can still recognize the extraordinary in a world that delivers it in seemingly endless, yet superficial, doses.

Fringe’s artistic journey, characterized by an ongoing engagement with the modern condition, is often framed through his exploration of mass media. His exhibitions, such as Don’t Blink (2018), No Seriously (2021), and Stress Narcotika (2024), seem to provide a critique of the overstimulation caused by constant exposure to branding, superheroes, and the overwhelming presence of pop culture. Through the repetition of images, the use of found objects, and a playful yet profound engagement with cartoon figures, Fringe pulls the viewer into a world where meanings are not always as clear-cut as they appear. The imagery he uses, whether it’s vintage books, pop culture icons like Mickey Mouse and Superman, or his own creation, the character MyLo, evokes nostalgia while also offering a deeper commentary on contemporary society.

In his 2018 exhibition Don’t Blink, Fringe examined the fast-paced nature of modern life, where a single moment of distraction might cause us to miss something important. The exhibition featured oil paintings of pop icons like Superman and Mickey Mouse, reproduced on vintage encyclopedias and children’s coloring books. These works appeared to highlight the suffocating ubiquity of pop culture, illustrating how it permeates every facet of daily life. For Fringe, the exhibition was less about nostalgia and more about a cultural moment in which icons no longer seem to carry the same weight they once did.

Similarly, No Seriously, his 2021 exhibition, seemed to offer a critique of the pop art movement itself. In this body of work, Fringe argued that pop art—often dismissed as shallow or overly commercial—is in some ways a much more serious movement than it’s typically credited for. The exhibition marked a significant point in his artistic evolution, with a particular focus on the MyLo character, a resin sculpture that seemed to symbolize a time-traveling, futuristic toy. In creating MyLo, Fringe embraced both the playful and the serious, acknowledging pop culture’s deep impact while also questioning its place in today’s media-saturated world.

The repetition of logos, figures, and slogans in his work reflects the ways in which modern consumers are continually exposed to these symbols through advertising and media. For instance, his use of the Superman logo in Don’t Blink or the Mickey Mouse image in other works is not just a homage to childhood memories; it’s also a commentary on how these characters, once filled with meaning, have been reduced to products—commodities in a global market.

At the core of Fringe’s commentary is the MyLo character. MyLo, who first appeared in 2019, serves as an alter ego for the artist—a playful yet introspective figure that appears to evolve alongside society. The character, a futuristic toy that could inhabit multiple locations and periods, reflects the fluidity of modern identity. In a world where everyone’s brand is on display, Fringe’s anonymity adds another layer of complexity to his work. By choosing to remain unnamed, Fringe seeks to place more emphasis on the art itself, distancing it from the personality-driven culture that dominates today’s art scene. His anonymity, in this sense, may be seen as a critique of personal branding—suggesting that, in an era where everyone is encouraged to market themselves, the artist who remains hidden might offer a more honest reflection of the systems he critiques.

Fringe’s decision to operate anonymously also reflects a response to the systems that shape today’s media landscape. In an age where Instagram influencers and celebrity culture dominate, the idea of an artist withholding their identity becomes, in some ways, a subversive act. Fringe’s anonymity places him outside the narrative of the artist as a brand, offering a critical lens through which to view the intersection of art, commerce, and identity.

The Stress Narcotika show, which opened in 2024, is an example of an ongoing conversation between public consumption and personal identity. The show explores the limits of pop art by engaging with themes of escapism, nervousness, and the overwhelming pressures of life today. With the use of hyperrealistic bodies, detritus, and a proliferation of repetitive symbols, Stress Narcotika seems to challenge our society—one where overstimulation of the senses leads to a form of emotional anesthesia. The show addresses a generation that appears desensitized to the remarkable, struggling to respond to what really matters.

Fringe’s exhibitions in his home city and across various European venues have contributed to his growing presence in the global contemporary art world. With each new exploration of themes around mass media, branding, and hyper-consumption, his work continues to function as a relevant commentary on the times we live in—challenging boundaries and engaging viewers to think critically.