Ship of fools 2, 3, 4, 5 (2012)
Ship of fools 1 2012, was the first to deal with this theme. In Ship of fools 5 (2013), the garden stereotype of dark, sensual exotic Africa as discovered and penetrated by the coloniser is articulated. The water of the Apies is rendered as mystical, magical and as a repository of the utopian ideas projected onto Africa by both the colonisers of the pre-twentieth-century period, as well as by an influx of diasporic Africans currently gathering in the vicinity of the Apies as the historical centre of Pretoria in a search for better-world conditions.n a reductionist scheme of two dialogical elements, Ship of fools 3 (2013), engages with the heterochrony of ideology and place, embodied in the images of the lion as Dutch representing colonial strategies and ideals, as well as its African counterpart depicted as having become a powerless porcelain nice-to-have. This work engages with Foucault's fourth principle that postulates heterotopias as "most often linked to slices in time-which is to say that they open onto what might be termed, for the sake of symmetry, heterochronies.
Utopia is presented as intertwined with dystopia, fractured, as our colonial and apartheid heritage.