A Modest Price for My Work, 2020
Audio rendering of received emails (Jun. to Oct. ’20)
with live video (21—29 Oct. ’20)
























Seen and Not Seen, 2019
Bathtub, water, soap, cotton towel, cotton bathmat, towel rail, soap dish, 155 x 200 x 150cm, duration: 39 days


Install a bath in the gallery.
Bathe only there for the duration of the exhibition.
Don’t change the water.
Photograph the bath mat every day.















Tragedy of the Rainbow Warriors (after Jannis Kounellis and Francois Pienaar), 2019
Chip packets, side table, brass bowl, Lay’s Lightly Salted chips, shelf, mobile phone, charger, plug, 311 x 322 x 80cm



A remake of Jannis Kounellis’ Tragedia Civile (1975), drawing on the history of South African hero Francois Pienaar to reimagine the work in a contemporary South African context.

In Kounellis’ original, gold leaf lines the wall, recalling ‘the past golden age in contrast to the disordered and compromised present’ by invoking Byzantine art. In front of the wall is a coat rack with overcoat and hat – illustrating in its melancholy banality the limitations of the individual in relation to the demands of their environment, while an antiquated paraffin lamp on a shelf lights the scene.

Instead of Kounellis’ coat rack and gold leaf, a bowl of Lay’s Lightly Salted is placed on offer in front of a wall covered in flattened chip packets. On a shelf, a mobile phone is on charge, receiving an almost constant stream of news updates from numerous news channels and Twitter accounts, on an endless array of topics of competing urgency.

The title of the work is derived from the front page of The Sunday Independent, 25 June 1995, which features an image of Nelson Mandela handing Pienaar the Rugby World Cup trophy – an image that has become iconic in South Africa as a symbol of reconciliation and unity – accompanied by the headline ‘Triumph of the Rainbow Warriors’.

The chips make reference to the arrival of Lay’s in South Africa following end of Apartheid and the lifting of sanctions. Lay’s Lightly Salted came to represent a new global sophistication for middle class South Africans to aspire to, based on Western consumer culture, once again with Pienaar at the fore as the star of Lay’s advertising.  








































Waste Management, 2017
Linocut on paper, monotype on paper, glue



Linocuts and monotypes, taken from my archive, torn into strips and assembled to form a stack.













Rocking Chair, 2016
Linocut on paper










Folding Underwear, Ironing T-shirts, Making Work, 2016
Linocuts on paper
















Mark