IN SEARCH OF PLACE The notion of place and the search for finding one’s place in the world has fascinated and perplexed me for many years. I feel like I have spent much of my life seeking “my place”. Early one morning, armed with camera and a hat, I started a strange journey through the streets of Cape Town, South Africa. I photographed a teapot in obscure places; in the sea, amongst the remains of a previous night’s gathering of the homeless, in a stream under a bridge, between the day’s catch in the fish monger’s vehicle and in the Y-shaped concrete pillar supporting an enormous bridge (this Y-shape took on metaphorical importance in my process). The teapot, as seen in this early body of work, is a metaphor for myself.


DISLOCATED The Y-shape has fascinated me for many years; not only do I find it visually appealing but also very symbolic. Bridges are often supported by Y-shaped pillars. These strong pillars are in my mind a representation of masculinity One day while driving in a mountainous area of Cape Town, South Africa I suddenly noticed something so beautiful I had to stop. It was fire wood that the locals had neatly stacked between two Y-shaped tree branches for support. Something about the nature of the shape in this material intuitively represented femininity to me. For a long while in my art making process I have juxtaposed male and female Y-shaped images. I try to represent them as different yet equal.


BRIDGE RORSCHAGH Walls are like public canvases, often huge and imposing, and constantly exposed to the public eye. They offer a space for self-expression that is very alluring because of its prominence and its frequently forbidden nature. Apart from political protests and slogans, usually created on city walls, more personal messages are often found in remote places where they can be used as a kind of private language. This body of work explores the signs and marks found on public walls, where individuals attempted to leave their mark.


PALIMPSEST refers to a surface where original work has been rubbed off or worked over with other layers. The multi-layered surface created by the artist is symbolic of the multi-layered nature of memory.

In this exhibition I seek to understand palimpsest in a poetical sense, where memories are the layers placed on top of each other. I am exploring the theme of loss. I layered intrusive marker events into the layers of memory that shape the surface of my life. The journey through different layers built up, by compulsive washing, staining, sewing and mark making are symbolic of the memories of moving on-it becomes the landscape of my life, a search without end for a landscape which I am a part of.

These Perspex parcels, bolted together, had become a sacred space, holding my memories.


MEMORY THREAD This exhibition explores different aspects of memory, the palimpsest that constructs my reality. I have been working with the idea of a repeated memory, an involuntary memory that plunges the individual into remembrance of the past. The conscious memories we retain, also referred to as Voluntary Memory, are like pages of a photo album, but they fail to capture the essence of the past. I have tried to visually portray Involuntary Memory, those memories that appear in my mind, explosive, sudden and unpredictable. The experience comes upon us in a flash, without warning. It is not a rational experience, it drives us powerfully, perhaps more powerfully than the rational. They arrive and vanish without premeditation. (Cont..)


MEMORY THREAD (CONT..) Mono print- making seems to communicate the irrational nature of involuntary memory well as I have little or no control over the outcome, just as I have little or no control over the memory. The image is imbedded into the paper as the memory is imbedded into my mind. These same images keep on repeating over and over again in different compositions, just as involuntary memory repeats and presents itself differently in my mind, disjointed and fragmented over time, eventually only faint traces and marks are left, almost erased on the fragile Japanese paper. In this body of work, lines represent the meandering paths of memory—overlapping, intersecting, and picking up new threads, new line, dreams, illusion, and other realities, exploring the strata of memories formulated over time. In my mind threads are metaphorical for interactions or conversations, loops as repetitions, tangles as complications. This meditative process allows my mind to wonder, each finished piece becomes a record of my thoughts.


My work deals with exploring memory, the palimpsest that constructs my reality, the shift of place that becomes a new fit, an identity that is in a sense erased and in the process of being rewritten with a grafting into a new place.

1962Born in Bloemfontein, South Africa.
1988Diploma of Pattern Making and Design
School of Design, Cape Town, South Africa.
1996-2003 Bachelor of Fine Art
University of South Africa
(Completed through Curtin University of Technology Australia)

Represented by: Afrikana Gallery
Shop 1, 270 Coventary St, South Melbourne
www.afrikanagallery.com.au
Represented by: Birds Gallery
236 High St, Kew
www.birdsgallery.com.au

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