ARTWORKS

ALL ARTWORKS ARE AVAILABLE FOR SALE

2018

HTGG FIN 2018

Oil on canvas
2 x 2,7 M

HTGG Surrender 2018

Oil + Acrylic on Primed Egyptian Cotton
184 x 225cm

HTGG 3rd Movement 2018

Oil + Acrylic on Primed Egyptian Cotton
165 x 225cm

2019

KISMET NTATHU 2019

Oil and Acrylic on canvas
144 x 192 cm

Untitled II 2019

Mixed media on paper
162 x 121 cm

BEAR 2019

Oil and Acrylic on canvas
145 x 198 cm

TWENTY DRAWINGS

Nancefield Folly

Nancefield Folly explores the township of Soweto at the birth of the New South African democracy as well as the archetypes that have developed since. It Is about the Nancefield Hostels in Soweto and the surrounding marshlands on either side of what is known in Soweto as Killer Road. The narrative about the
killing of peoples perceived to be snitches / informants (mpimpi) during the Apartheid are many. There is a particular narrative about Nancefield where many bodies are buried in these same marshlands. Some of these bodies are said to have come from the Nancefield hostels. Having grown during this time Nancefield has become a part of my internal narrative even extending as far as a dream wherein these same bodies, cars and drugs began to surface in a moment of what can only be describe as folly as Credo Mutwa was narrating this event.

Amablazer: Helpmekaa

Amablazer: Helpmekaar explores the structures and institutions of the Apartheid era. The exploration is spurred by the recent citings of student deaths in South African High School

Mohau: Babel Kings,

Mohau Babel Kings explores the idea of pre-colonial Kingdoms on the African continent with a particular focus on the synergies between the Zulu and British Royal family narratives and how these narratives have influenced contemporary archetypes of power.

Clears Throat...Becoming 2019

Mixed media on canvas 156,5 x 117,5 cm

Untitled

Untitled looks into the idea that Abstract art and abstraction are found in Modern and Contemporary African art. This work explores the work of Roger Botembe as well as his perspective on Transymbolism in relation
to contemporary African Art.

Vana va Mihloti - The Exodus (Children of Tears - The Exodus)

This artwork attempts to articulate expressively the immense and intense pain suffered by African children and refers to a phrase said by elders in times of tragedy as consolation. The elders who themselves were once children suffering the pain of political oppression now plead for the exodus of all children from historical trauma. The use of colours is a reference to a luminosity often associated with Tsonga traditional dress of Limpopo but is also an expression of first colours of trees at the change of winter into spring. These colours therefore signify change as a result of an exodus from pain and trauma.