Wimbledon College of Arts, University Arts London, 2019
I am interested in the psychological inheritance of apartheid and the impact separateness has on society, persisting despite the 1994 elections. Escalating crime creates the desire for enclaves of safety only the privileged can afford in gated communities. My paintings address this proximity to violence, as seen from a prospective perpetrator, as voyeur. These disjunctions are accommodated so seemingly naturally but are in fact a part of a fake reality.
The film Rainbird is about land rights and the historical attachment we have to place. The current land redistribution without compensation is an area of conflict and concern. This film, which is about my mother’s childhood farm in Natal, offers some questions about belonging and loss, as does the tablecloth work and both include an excerpt of her memoir.