Seen and Not Seen, 2019
Bathtub, water, soap, cotton towel, cotton bathmat, towel rail, soap dish, 155 x 200 x 150cm, duration: 39 days
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.
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
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 character of Francois Pienaar to restage the work in semi-contemporary South Africa.
Instead of Kounellis’ gold-leaf-festooned wall and coat rack with overcoat and hat, a bowl of Lay’s Lightly Salted chips is placed on offer in front of a wall covered in flattened chip packets of the same type. On a shelf, a mobile phone is on charge, receiving an almost constant stream of news updates from many sources 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 came to represent a new global sophistication for middle class South Africans to aspire to, once again with Pienaar at the fore as the face of Lay’s in their advertising.
Instead of Kounellis’ gold-leaf-festooned wall and coat rack with overcoat and hat, a bowl of Lay’s Lightly Salted chips is placed on offer in front of a wall covered in flattened chip packets of the same type. On a shelf, a mobile phone is on charge, receiving an almost constant stream of news updates from many sources 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 came to represent a new global sophistication for middle class South Africans to aspire to, once again with Pienaar at the fore as the face of Lay’s in their advertising.
St. Lawrence Handing out the Treasures of the Church, 2019
Oil on photocopier, toner on paper, 110 x 65 x 60cm (prints 42 x 30cm)
Oil on photocopier, toner on paper, 110 x 65 x 60cm (prints 42 x 30cm)
An oil painting made in white on the glass of a photocopier becomes a printing plate, turning the photocopier into a printing press. Papers are signed and numbered as an open edition and placed into the print trays.
Viewers are invited to activate the photocopier, making their own signed print. Prints were available for the duration of the exhibition. Edition concluded at 455.
Make a quick drawing, of nothing in particular, using a brush and ink.
Take a second to decide if it’s good.
If it’s not, stick a new sheet of paper on top of it, on the wet ink.
Try again.
The wet ink sticks the pages together.
Continue the process until a good drawing is achieved.
Display the stack as a whole.
Take a second to decide if it’s good.
If it’s not, stick a new sheet of paper on top of it, on the wet ink.
Try again.
The wet ink sticks the pages together.
Continue the process until a good drawing is achieved.
Display the stack as a whole.
Self-portrait under the Lamp, 2019
Chair, desk, laptop, notebook, pen, coffee, mug, lamp, 400 x 120 x 100cm
Featured at FNB Art Joburg 13—15 Sept. ’19
Chair, desk, laptop, notebook, pen, coffee, mug, lamp, 400 x 120 x 100cm
Featured at FNB Art Joburg 13—15 Sept. ’19
Amateur Hour and After “The Capture of the Golden Fleece” (or maybe just a fleecing), 2018
Ink on paper, chairs, oil on linen
Ink on paper, chairs, oil on linen
Waste Management, 2017
Linocut on paper, monotype on paper, glue
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
Linocut on paper
Folding Underwear, 2016
Linocut on paper
Linocut on paper
