If You Go Down To The Woods Today

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If you go down to the woods today, a mixed media exhibition by Liza Grobler at the Everard Read Gallery until April 22Lucinda Jolly reviews.

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The exhibition “If you go down to the woods today” by mixed media artist Liza Grobler is introduced by three tall beaded panels on the stairway to the exhibition space. It’s as if thousands of moths or butterflies sipped a variety of coloured nectars and were encouraged to lay their perfect seed eggs in designated areas to create these blossom motif panels.

You could be forgiven for being lulled into the sweet Japonisme of the panels which could be found in boutique hotels or upmarket homes. But they are a quirky anomaly to what lies in the main room. For you are as the song goes in for if not a big surprise certainly a surprise. For a very different kind of creature has birthed the offspring within.
You’ll meet the beaded surfaces again  in the jumbled worded paper fragments “Kastige Classic” and “Midddagslapie” but the ordered pristineness of the blossom panels gives way to the sticky, messy waywardness of process. When Grobler was busy with her Master’s degree her supervisor made the statement that “exhibitions are the graveyards of the creative process”. His declaration caught hold, and Grobler’s approach to exhibition pieces can be read as an antidote to the anti- climactic graveyard of final product. This exhibition focuses on revealing process- allowing the viewer to experience something of what the artist experiences in the making of the work for it’s very important to Grobler that her work is “experienced rather than explained.” It’s got, as the artist says, “ a bit of a behind the scenes feel” to it.

In spite of the exhibitions title, these particular woods have little in common with cute teddy bears having a benign tea party other than requiring a suspension of disbelief. The drips and tears, scratches, stitchings, insertions , scores and scorches , watchful red eyes and blades have more in common with dark films such as “Fear and Loathing in Las Vegas”or “Pretty Little Liars” which feature the teddy bears picnic song . It’s more like the ancient forests favoured by the Brothers Grimm where( as with process) the child’s polymorphous nature and fluid boundaries are severely challenged and tested. Sometimes with fatal results.

Two years ago Grobler exhibited “White Termite”at Brundyn + Gallery referencing Eugene Marais author of “The Soul of the White Ant“. These creatures who never cease working and serve as both builders and destroyers became metaphors with which to explore “art as a compound animal” by weaving an interactive, intensely blue world around 5 small porta-pool wishing wells. The work “Black Termite” and Grobler’s newest video “21st Century Family Portrait” both continue her interest in the parallel between the human being and the termite which operate as both individuals and a social group. The simply shot video is both a record of the celebration of Grobler’s 40th year and a simulation of an exhibition opening “seemingly informal but also quite uncomfortable”. It shows a group of black clad guests wearing bright orange pipe cleaner headpieces who are piped by a pied piper playing a saxophone across a field to a central tub of champagne. Grobler provided her guests with additional pipe cleaners should they wish to “build” or “connect” with each other .She cites the importance of “21st Century Family Portrait”as a pulling together of a lot of things she has been working on for some time.
Grobler refers to herself as a colour junky, in love with every colour –except brown. Last years Blindfolded Line , Dancing in Time exhibition at the Bloemfontein Oliewenhuis Art Museum drew inspiration from the Paul Klee quote that drawing is taking a dot for a walk . In that exhibition she worked with red, pink and black whereas in “If you go down to the woods today” black is the dominant pigment. Grobler talks about injecting colour into black.
We are drawn to the dark plush velvet of “Little Black Number With Offspring” a monumental skirt-one which should be worn with stilts- which is just this side of threatening. We want to peak under its voluminous folds, curious as to what can be found in that mysterious space just as the child desires to creep under the skirts of the mothers ball gown. Yet we are wary of the knowing red eyes-attached and cautious of the 7 “cutting edge” hairy soft sculptures complete with exposed kitchen knife blades spawned by the little black number which lie like sharp ankle-biters in our path. The return to childhood is impossible but it can be evoked with all its intensity, vulnerability and insatiable curiosity.

This darkness extends to a predominantly black 5 part panel piece titled “It’s a Quiet Thing”. In this exhibition she explores the colour black referring to it as “the colour that swallowed the rainbow”. The tarry sheen of black pigment is embedded with pipe cleaners, birth slashes of shocking pink pigment and sections of hula hoops and pipe cleaners.

It’s important for Grobler that the viewer has fun. Otherwise why make art in the first place? Be amused by Grobler’s sculptural interpretation of pause and full stop two squat indefinable creatures and the forest populated by one pink mohair tree and a number of delicate skeletal trees made of black pipe cleaners .
Checkout the exhibition and become a participant in the artist’s creative process. Contact 021 418 4527.

VISITOR, visits and collaborations (3-24 October 2009)

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The now UCT Irma Stern Museum was formerly the house of artist Irma Stern. In this space she lived, created, and entertained. Visitor by Liza Grobler, responded to her home in a ‘solo’ exhibition with a difference: it acknowledged human interaction as a core ingredient of artistic output. Apart from the random and invited viewers who visited to see Grobler’s work, a number of collaborations were initiated in an attempt to bring the former living space back to life…

The Saturday morning opening celebrated Stern’s birthday (2 October) with cake, gin and cucumber sandwiches. This was offset by the “As long as you try”-chant, which came from an oversized knitted wall piece in which Monika Voysey, a renowned mezzo soprano, was stuck. It pretty much set the tone for the following days. On Monday 5 October, the museum was ostensibly closed, but a group of 9 invited artists, partook in a life drawing session in the library. The event brought together a selection of artists whom Grobler specifically respects for their varied approaches to representing the human figure. Participants were: Johann Louw, Clare Menck, John Murray, Nomthunzi Mashalaba, Wonder Marthinus, Norman O’Flynn, Conrad Botes, Marna Hattingh & Marlise Keith. The event was twofold: it honored Stern’s lifelong interest in the human figure as subject and the active participants became subjects in there own right (they were documented digitally).

On Wednesday the one-day residency programme commenced: What a difference a day makes… Participants had the opportunity to occupy the central space within Grobler’s exhibition from 10-5 daily. How each person used the space, was up to them. Lynette Bester arrived straight from an overseas residency and communicated only by writing on pos-its. Lien Botha brought and African Grey parrot and stepped out a dado grey scale whilst Barend de Wet and Adrienne van Eeden Wharton co-knitted a long rainbow coloured scarf. Francesca Sanchez posted paper waterfalls from Chili with installation instructions. The organic process allowed for experimentation, contemplation or just coffee drinking sessions with whoever visited the show. Other participants include Katherine Bull, Jaqceus Coetzer, Michael Taylor, Johan Thom, Seth Harper, Ruben Gutierrez, Abrie de Swardt, Sonja Rademeyer and Niklas Zimmer. Visit the blog at www.dayresidencies.blogspot.com .

The Gift – a lace making performance by Grobler and Pierre Fouché was an appropriate closing event that coincided with a picnic in Stern’s garden… Life has a knack for weaving random events into a delicate web of human networks.

Grobler and muses

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Cape Times, Melvin Minnaar

In Lien Botha’s engrossing new photographic show at the Erdmann Contemporary (until the end of the month) there is a smashing picture titled Liza in Irma Stern’s studio, Rosebank, Cape Town. A warmly-toned, tightly-structured and moody image, it shows the artist Liza Grobler in contemplative recline on a couch, her nudity gently echoed in a detail from one of Stern’s paintings on the wall. It is simply superb.

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Last week, Grobler was hardly sitting still at the very same studio in Rosebank. A stream of visitors – art students, but also well and semi-acquainted artist friends – was arriving to see what she had put up for display in the museum’s upstairs show area. But some were also there to participate in the extended three-week project. Grobler is ‘hosting’ a show invitingly called Visitor.

The grand, famous Stern house (one of the city’s great cultural gems), laded with paintings and eccentric African objects, hasn’t seen such a wave of energy spread through its spaces in yonks. Grobler has turned her substantial show into a celebration of art production, acknowledging Stern (her birthday) and her own tenth anniversary (her first solo exhibition in 1999) in the process.

Not only is she showing a variety of work that ranges from a large, on-your-face painting, sneaky and amusing prints, and deliciously wacko floor-pieces to her signature woven and knitted, soft-fabric sculptures with their highly tactile presence, but she is also engaging other creative pals in an ongoing feast of invention, a virtual daily ‘residency’ programme and then some parties. Needless to say, internet blogs record the run and broaden public participation.

Grobler’s website spells it out: “Art-making is a social practice. ‘Exhibition’ implies ‘viewer’. Somehow everyone’s involved. The exhibition will change daily: objects, sounds, friends and acquaintances will occupy the space. We celebrate human interaction and the slightly absurd tendency of life to connect a seemingly random list of events.” It’s an invitation hard to resist.

Early in the week a gang of well-known artists turned up for a morning session of nude life-drawing. Their efforts – half-completed sheets of paper stuck on matter-of-fact artist’s easels in Irma’s drawing room – are playful counterpoints to the space’s stern and solemn ambience. After all, the old lady was engaged in the same artistic process in the room next door, decades ago.

On Thursday, Lien Botha herself took up ‘residence’ in the upstairs’ space reserved for artist’s visitors. She brought along her African Grey, the bird connecting her presence with her own exhibition downtown called Parrot Jungle. A throng of young art students piled in and took up room around the two artists. One couldn’t side-step the vibe of creative enterprise on the flow, and know in your heart that the old lady would have approved.

That enterprise – make it hands-on, hard work – is, of course, what Grobler is known for: textiles and other materials meticulously and densely crocheted, plaited and knitted, and turned into forms. Sometimes funny, sometimes surreal, one cannot escape their spatial invasion. Here, they have a jolly contemporary conversation with the great Stern paintings and all the gutsy bric-a-brac of the collection.

If you’ve never been to the Irma Stern, this is the time. If you’ve been, Grobler would welcome you cheerfully as Visitor.

A view of Liza Grobler’s installation: His Master’s Shongololo snakes from the fireplace, while The Other Udder lingers in the background.

Black: The Antithesis of the fraudulent sensuality of culture’s facade. An experiment in voluntary asceticism

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Black: the antithesis of the fraudulent sensuality of culture’s facade. An experiment in voluntary asceticism.

Liza Grobler, Mary Wafer, Hentie van der Merwe, Zander Blom, Kathryn Smith, Michael Taylor and Nomthunzi Mashalaba at blank projects

By Katharine Jacobs 05 August – 25 August. (Published on Artthrob August 2009)

For blank’s last show in their Buitengracht Street space, the walls have been painted black.  Ditto the floors and ceiling, and what with the blistering spotlights burning down from above, it’s a rather uncomfortable space to find oneself in. Standing on the floor in one corner a doll-sized figure captures the mood: she’s wreathed in layers of black and brown tights, unable to see out, yet seems to be gazing up at a sickle moon through a little jail window, drawn on the black wall with white chalk. This playful chalk drawing effectively turns the whole gallery into a jail; a touch of magical realism not unlike that of Robin Rhode.

For the show, curators Jonathan Garnham and Pierre Fouché challenged artists to undertake a vow of ‘voluntary asceticism’, producing work in black only. Being contrary by nature however, several of the artists took this as something of a challenge and Liza Grobler’s Little White Lies is not the only work which shows signs of mutiny.

Nomthunzi Mashalaba’s Play along Nomthunzi suggests a childlike resistance not only to being told what to do, but also being pigeonholed by race. The work is housed in a beautiful bulbous glass globe, once a measuring device of some sort which Mashalaba found a laboratory throwing out. Inside, curled tightly like little balls of wool, are black, red, blue and multi-coloured pieces of fabric. Mashalaba’s works in fabric have previously critiqued the process colonial provenance of ‘shweshwe’ fabric and the like, and the confinement of these hard, tense little balls inside the glass measuring device seems to allude to a kind of passive resistance to colonising impulses.

The winner though, for the most elegant answer to the show’s theme – and idea I’m most annoyed about not having myself – goes to painter and illustrator, Michael Taylor. Taylor has taken discarded black photocopies, and folded and scored them so that the toner has rubbed off.  The linear markings are minimal, yet spot-on, suggesting seascapes – or, in the image which comprises the flyer for this exhibition, but which sadly isn’t on show – Vegas spotlights.

As a free citizen, I escape Garnham’s gaol, and find the gallerist chatting outside. I ask how many coats of paint it’s going to take to make the gallery white again. ‘I’m not looking forward to that’, he chuckles, ‘but it’s the last show in this space for blank’ – the gallery will be relocating to one of two potential spaces in September – ‘so we would have had to renovate anyway.’ This is an ending then, for this stage of blank’s life, but not an ending for the gallery, which promises to continue its experimental agenda in its new premises.

Two brilliant exhibitions re-view the same territory

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Melvyn Minnaar, Cape Times, 29/10/2003
Two brilliant exhibitions re-view the same territory

Two brilliant exhibitions re-view the same territory

I can’t see the wood for the trees…by Liza Grobler at the João Ferreira Gallery and Moneo by Julia Teale at the Irma Stern Museum.

Well-worn, archeologically smooth stones are common to these two different, edge shows. Other metaphorical links are related to matters of meaning in contemporary artmaking and makes both exhibits well worth seeing. In her exact, sharp paintings observations of the desert-like African land – Julia Teale seems to debate that purpose through gentle associations of emotion, myth and history. Her uninhabited land and earthscapes push beyond the clichéd picturesque view and activate them as spaces of human condition.

In some these are, literally, remains: skeletons of people who had some contract with the geography, markings of habitation: fences and poles, roads to beyond. There are no people, only presence.

The three Studies of Intimacy are significant carriers of this empathy – also because they’ve been so acutely painted. In 1 and 3 the surviving succulent in the stony desert ground offers an intimate bloom. In variation 2 it’s the infinite bushy panorama that rings up that emotion. The visual symbols work. The rather obscure title- Moneo is Latin for “to remind or tell of” – explains itself: how the depicted landscape or scene can reveal meaning, tell a story and trigger the observant looker’s imagination. This is the doings too of artmaking.

One of her lingering painted images (not all the canvasses are engaging, some suffer from a kind of painterly heavy-handedness), is the splendid Stony Heart – a close-up of the rocky earth that slips into a kind of radiant abstraction. It is delightful and playful.

Liza Grobler’s stones are even more beguiling. She has dressed each of her real river rocks in sheer crocheted socks. They lie there on the gallery floor – together with a hotchpotch of other tactile oddities floating above and around and even one grunting in the room next door – to tempt visitors into an amusing surreal consideration.

I can’t see the wood for the trees, so I’m taking a line for a very long walk, the full title of her installation, is an invitation to the visitor to dwell in her “forest”. Constructed of discarded consumer materials and bits from nature, pebbles and fabric are densely reworked by the artist using homely crafts such as knitting, to jab the visitor’s imagination. Her amusing, child-like milieu and inventions questions visitors about meaning and impact – there is much more to tell and see, thus offering the same challenges as Moneo.

Liza’s Muck-raking Dishes the Dirt on a Soiled Society

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Lloyd Pollak, Cape Times, Feb 22, 2000

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On entering the Chelsea Gallery one’s eyes are immediately wrenched out of their sockets
by Grobler’s outrageous showstopper, Betty, a grand piano enveloped in florid, flouncy and furbelowed couture complete with a long train.

This outrageously endimanchée lady immediately prompts a Surrealist frisson of thrilled surprise, and indeed, novelty, bizarrerie, playful whimsy and irony are the keynotes of this delightfully refreshing show which forces us to reexamine the rituals of daily life, and to question the assumptions, values and goals of our Western consumer society founded on arrant greed and waste.

The title The Garbage Men Wear Gloves derives from Camus’s American Journals, and it alludes both to the Everests of detritus created by industry, and “the artist’s personal scrapheap of objects and experiences”. The exhibition seamlessly blends public and private issues.

One of Grobler’s most urgent concerns is with the escalating quantities of useless, discarded packaging that fill our bins, litter our streets, and raise the price of consumer goods. The artist’s goal is to salvage junk and compel us to acknowledge its aesthetic potential and beauty. In Betty she provides this revelation by taking ordinary supermarket plastic bags and laboriously crocheting them – over a period of months – into the gloriously over-the-top gown that clads the piano, and assumes an assertive personality of its own like some delectably vulgar “tannie” with a taste for the tizziest, frilliest and silliest of frocks.

Betty may dissolve you into a quivering jelly of mirth, but underneath the disguise, the lady is an agent provocateur who challenges our value systems. The grand piano is of course associated with High Culture, but Betty’s ostentatious, sartorial splendours enable her to undermine patriarchal values, and inquire why female handiwork is less valued than the male classical musical tradition.

To quote the artist who reinvents her appearance every day, and habitually tarts herself up in bedizened ball gown regalia merely to purchase cigs at the corner store: “The silent piano is reduced to a mere foil to display its crocheted mantle, and thereby accepted values are inverted. The degraded plastic bags are monumentalised, while the grand piano is demoted.” But liewe, uitgeslape ou Betty takes subversion further. In the kultuurbewus Afrikaans home, young ladies learn to play the piano as a feminine accomplishment that veneers them in refined niceties and renders them matrimonially more marketable. The hallowed status of the grand piano as a cultural icon, a nuptial trap and a badge of femininity is ironically celebrated by cladding it in woven mantle so vulgar eyes cannot defile it nor penetrate its mystifications.

Betty’s elaborate attire too alludes to the sacrosanct wedding gown, a labor-intensive, exorbitantly costly, and often exorbitantly styled piece of risible masquerade which is worn just once in blind deference to tradition, as a proclamation of dubious innocence, and then relegated to a cupboard as a souvenir of the bride’s triumphant ensnarement of her man.

Poplap, another feat of ingenuity, consist of a tall, fragile, hanging sculpture crafted out of gauzy, used teabags that – through their shape and contents – allude both to fertility and the female breast. These are sewn together and inscribe with texts. This delicate tannin tinted dame looks drained out, and no wonder, for like most women, she plays multiple roles, as home-maker, hostess, breast-feeder, guardian of the hearth, agent of reproduction, fount of wisdom and sex-object placed on public display.

Ecological concerns dominate Liza’s epically scaled Billboard paintings and her somewhat cryptic drawings. These are executed on cut-up pieces of discarded card board boxes and embellished with torn tissues and paper serviettes which she employs to analyse daily life, thought, memory, daydream and the subconscious through the medium of trivial objects we take for granted, but which can uncover the power structures inherent in our society. Although a source of sheer visual pleasure, the content is often so personal as to prove extremely elusive.

In Grobler’s nimble hands trash exposes all the faultiness that bedevil crass capitalism, the family and rigid, outdated male and female role models.

Without doubt Liza of the stardust and the sequined cheeks, is one helluva gal from who can expect great things.

Garbage Art Cuts to Core of Society

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The Garbage Men Wear Gloves, at Chelsea Gallery, Wynberg.
(Cobus van Bosch, translated from the original Afrikaans review, Die Burger, 23 February 2009)

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An attunement to humour, irony and social commentary forms the basis of this exhibition which varies from traditional oil painting to strange, even bizarre, objects made out of discarded material. Grobler borrowed the title from a paragraph in the American Journals by Albert Camus. It indicates that the exhibitions both a “digging through the rubbish of the global consumer society and an investigation of the artists’ personal objects and experiences.”

Two conceptual pieces – Poplap and Bettie – suggest more than any other work, how the artist wish to comment on aspects of society. Within a consumer society, packaging is the deciding factor when a product is purchased, but that same packaging is discarded directly thereafter.

The bittersweet and fascinating Poplap is a suspended work, consisting of an enormous amount of used tea bags (with small inscriptions here and there) that are sewn together into something that remnds one of a gigantic condom. This colourful and textured work is very engaging on a visual level and in spite of its frailty, inviting to the touch – ironic, considering our general handling of used tea bags.

The tea party and needlework are traditional activities for the female home creator to engage in. Consumer culture is well-known to the housewife. After a lifetime as protector, educator, custodian and cleaner time take its toll. Poplap as metaphor is hanging there: used, stained and strained.

Bettie is an outsized “veil” crocheted out of plastic shopping bags and is draped over a baby grand piano. It simultaneously evokes associations of preciousness and worthlessness, uniqueness and ordinariness, protection and vulnerability. It is also an interesting reference to Joseph Beuys’s concept pieces Infiltration-homogen for Grand Piano and Plight Element in which he covered a piano with felt to address issues of inner contemplation and healing.

In contrast to this, is a series titled Robbeneiland bestaan regtig (Robben Island really does exist) which on first glance have nothing to do with the content of the other works, but gains meaning within context. These images of rusted pipes, lights and walls are so unspecific that it can indicate any place.

Robben Island is but a piece of land that is visible above sea level – nothing special about it. It is the incidents that occurred which make the difference. Today, this island with the long and tragic historyis packaged (according to Grobler) as a tourist attraction. The sad history of the island (the content of which is but a faded memory) is the shiny wrapping paper for the tourist industry of today.

Also on show is a group of small works in mixed media in which the artist used “useless” materials such as pieces of string, cardboard, text and small drawings in awkward and unusual associations. The content here is more personal in nature and often almost impossible for the viewer to penetrate, but many of them have a charm, even if this is only situated in the sensitive handling of material.

The couple of big paintings or “billboards” are executed in crude, graffiti-like style which appears to be a fragmented view on the modern lifestyle of consumption and living for the moment. It is however, less striking than the small intimate works.

Grobler completed her MA in fine art last year at Stellenbosch. This is her first solo exhibition.

Working Under Devil’s Peak

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Liza Grobler’s bold monotypes display ambivalence, spontaneity and a tongue-in-cheek approach to imagery

– Warren Edition monotypes at Daddy Longlegs, Cape Town

(Veronica Wilkinson, The Sunday Argus, 23/11/2008)
Equally at home draped in her Dutch Reformed grandfather’s black vestments acting out performance pieces in Oudtshoorn during the 2004 Klein Karoo Nasionale Kunsfees or in her studio in Observatory, Liza Grobler is artist in residence at the Bijou Art Studios, where she shares studio space with a view of Devil’s Peak beneath an industrial area that doubles as an installation site. Grobler teaches conceptual drawing at the architecture faculty of Cape Town University and is exhibiting on a group show at the UCA Gallery in Observatory until Friday and the Daddy Longlegs Boutique Hotel in Long Street, Cape Town – the latter with Tom Cullberg – until the end of November.

She has extensive collaborative experience in both the educational and fine art arenas, with practical work combining the use of waste materials and skills development for former historically disadvantaged groups, some of whom execute her designs the create large beaded panels. Most of these are commissions for corporate collections like Spier, Hollard and Nando’s, among others.

Grobler studied fine art at the University of Stellenbosch, graduating with a master’s degree in 1999. She has travelled to America, Finland, Norway and Switzerland to perform, participate in residencies and exhibit.

She has teamed up with Warren Editions, a recently opened print studio on the corner of Dorp and Bree Streets in town, to produce the monotypes currently on exhibition. Over four days she produced over 21 monotypes at the WE studios where expert advice and assistance are able to free artists from technical constraints as their plates and prints are prepared for them.

Artists are required to do their own drawing and design in an environment that encourages spontaneity and experimentation. The WE studios purpose is to introduce artists who are not primarily printmakers to the mediums of etching and monotype by working closely with them to develop images as optimum quality prints.

Tom Cullberg’s etchings are also fine art print originals produced in numbered editions, which can vary slightly from print to print depending on the way the print is loaded with ink and hand-wiped. A metal plate, which had been incised and “bitten” with acid into the exposed linework or areas to be shaded, is positioned on a steel bed before it is covered with damp paper and a felt blanket and then is rolled through the etching press. The resulting print bears a reverse image of the design or drawing.

Grobler’s style is an interesting mixture of spontaneity and subconscious imagers that spills on to surface in scribbled impulses that capture familiar likenesses and often humorous explorations.

As the mother of eight-month-old son Storm, she wrestles with ambivalent emotion, resulting in images of floating udders and archetypical fertility figures made up of multiple breasts.

Presenting her insight into an Afrikaner heritage fearing extinction, tongue-in-cheek manifestations become public work. During the 2004 Oudtshoorn arts festival she made orange, white and blue pompoms; each with a tag reading “Ek is nie ‘n pommie nie” (I am not a pommy), which she placed at random round the little town. Her reward for this ‘public intervention’ was observing the responses from excited children who actively sought and collected the coloured balls, and adults who appreciated the humour and craft that had gone into their making.

Last year she collaborated with Jeanne Hoffman for the museum show in Rauma, Finland, in a project entitled Afrikan Tähti: Digging for Gold. Re-using signs from last year’s Cape Art Biennale, a “treasure hunt” based on the most popular board game in Finland proved to be popular with locals and featured on the front page of a Finnish newspaper.

The game involves players searching for gems with the flip of a token determining twists of fate that range from being robbed to actually finding the legendary diamond Star of Africa, and then returning it to Cairo or Tangiers. The winner is the player who gets back to their destination first, bearing either diamond or a horseshoe.

Adventurous use of materials to create “ absurd objects that you can deposit in real life” include her raining sun from the Icarus Project  in collaboration Norman O’Flynn, with 1.7 km of ribbon and her Teardrop Project in Solothurn, Switzerland, which needed 1500 pipe cleaners. She was responsible fir the pebbles with coloured crocheted “jackets” re-deposited gently on Milnerton beach ofter she had used them in an installation.