Mirror, mirror on the wall (2024-2025).
Mixed media on canvas, 760 x 910mm. Sound composed and produced by the artist.
Presto agitato (2024-2025).
Mixed media on canvas, 760 x 910mm.
Sound: Beethoven's 'Moonlight' Sonata, III Presto agitato
Played by Valentina Lisitsa (permission of the pianist).
2025| Composite
Situated within the discourse of the Anthropocene, my layered intermedial practice engages with the entangled consequences of human activity on ecological and geological systems. I consider land not only as a site of environmental crisis, but also as a palimpsest—a composite repository of memory, transformation, and deep time.
Within this conceptual framework, I partly draw on the archetypal duality of mother and father as foundational principles in nature: the maternal is evoked through soil, earth, and cycles of nurture and regeneration; the paternal through stone, structure, and endurance. Rock, in particular, operates as both witness and archive—inscribed with the temporal pressures of geological formation and anthropogenic disruption. Through this lens, my work seeks to open new territories of meaning-making between body, environment, and time.
This new series of work moves away from my previous working with my piano as object and further explores the transmutation of sound into words, images into sound, words into images, and the absence of sound. I am both composing/producing sound on/in my piano, and 'borrowing' sound for the work.
As a negotiation between presence and absence, silence and resonance, the intersection of sound and image becomes a composite palimpsest of sensory impressions and meanings. Deafness signalling a condition of not hearing becomes a metaphor for the lack of response to the Anthropocene's urgent call for action. In such sensory translation, sign language functions as both metaphor and method.
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Listen listen listen - Hear me! (2025). Intermedial charcoal drawing on Hahnemühle, 300x800mm.
Physical AP and digital edition of 5. No 1/5 sold.
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O I C A B [Oh I see a bee] (2025). Intermedial charcoal drawing on Hahnemühle, 400x1500mm.
No1/5 sold
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Mother-Father (2025). Mixed media on canvas, 1220x1510mm. Sold
2025| Bitterbessie dagbreek
Hierdie stel werke handel met herinnering en die alleenpad van verlies en hartseer. In die era van die Antroposeen word die planeet geteister deur natuurrampe soos aardbewings, vloede en vure. So het my huis, die inhoud daarvan en kuns verbrand tot as in die 2017 Groot Vuur in Knysna. Die huis het uitsig oor die groot Knysnameer gehad en was omring deur hoë bome en fynbos. Voor die huis was 'n groot dennebos wat die vuur verder gestook het en tot swart stompe en as uitgebrand het. 'n Bron van vroeëre vreugde was 'n reuse pienk Trompetblom boom (Angel trumpet) wat ook verbrand het.
My kunstenaarsboek gebruik geselekteerde woorde uit Ingrid Jonker se gedig, Bitterbessie dagbreek (1963, van die versameling Rook en Oker), doelbewus deurmekaar en omgekeerd.
[This set of works deals with memory and the lonely path of loss and grief. In the era of the Anthropocene, the planet is plagued by natural disasters such as earthquakes, floods and fires. My house, its contents and art burned to ashes in the 2017 Great Fire in Knysna. The house overlooked the vast Knysna Lagoon and was surrounded by tall trees and fynbos. In front of the house was a large pine forest that fuelled the fire and burned to black stumps and ashes. A source of former joy was a giant pink Angel trumpet tree that also burned. My artist's book uses selected words from Bitterbessie dagbreek (Bitterberry daybreak], 1963, a poem by the celebrated South African poet, Ingrid Jonker, with the words deliberately jumbled and reversed.]
Bitterbessie dagbreek (2025). Kunstenaarsboek. In voorbereiding vir Aardklop 2025