Infantry (2013)


Rust en Vrede 2019 Birdlife

Woordfees 2018
Footprint Biennale 2016
Eclectica Modern 2016
Beyond Skin-Theartbusiness,Piketberg,2012
Portraits-Rust-en-Vrede 2012
Self Portraits -Rust-en-Vrede 2011
Phantasmagoria-Salon 91 2011
Work- KZNSA 2011
phan-tas-ma-goria- KKNK 2011
Solo-Rust-en-Vrede 2011
Stellenbosch Woordfees-2011 (group)
Inprint-travelling 2010(group)
Coppertone-Salon 91 2010 (group)
Print-These Four Walls 2010 (group)
Summershow-iArt 2009 (group)
Recent Work-AVA 2008

Image making has always held a potent and obsessive allure for me,as far back as I can remember I have attempted to map out my understanding of the world and my experiences therein with whatever materials I could lay my hands upon . In a sense it has always dealt with a certain type of assimilation and internalization , an attempt to possess images that have moved , seduced , intrigued and even alarmed me .

Thematically my work has invariably returned to an intensely personal series of responses : central themes include the nature of duality , the complexities of guilt , memory and desire , and the allure of the macabre , the mysterious and the forbidden . The persistence of these themes is allied to a preoccupation with the fringe , with alienation and feelings of dislocation and uncertainty , the paradoxical lure and repulsion of assimilation and integration . At its rawest my work probably stems from these agitated psychological states , and the outsider figure crops up persistently , often in the shape of misfits , criminals and anthropomorphized beings .

My imagery is drawn largely from stocks of my own photographs , cinema, and open source reference such as the internet and  encyclopedias . My current work reflects to some degree an attempt at an exhaustive overhauling of banks of imagery that I have obsessively hoarded over the years , ranging from the sublime to the ridiculous . An attraction toward the grotesque and enigmatic qualifies the work , and reflects a series of personalized and equivocal responses to the ghosts of memory and desire (in all their ambiguities) , notions of individuality and alienation , and a penchant for the offbeat and grotesque . Their dark and often moody narratives are offset by a sense of wry and knowing dark humor , wherein anthropomorphic taxidermied apes square off against burlesque wrestlers , vicious criminals rub shoulders with ersatz dinosaurs :  a phantasmagoria of ill starred misfits .


On the upper mezzanine, Paul Painting’s etchings were more engaging. The small-scale, neat collection of images appeared to be from Ma Baker’s personal scrapbook. Infamous Reggie Kray, a pair of buff wrestlers, a group of eerie Vaudevillians and a couple scantily clad in '70s swimwear sit side by side. The images are dark and spine-chilling. Painting leaves it up to the audience to make connections between the characters. Is that Reggie’s Mom and Pop? Did Reggie have a French bulldog called Barthez? A recurring Godzilla character pops its head up at odd places, perhaps a manifestation of the ‘monster’ within. The images are darkly humorous. At once a satire and a set of eerie tragicomic possible narratives. 

And damn, I can’t seem to get Reggie’s mug shot out of my mind.