Photography by Anthea Pokroy
Chris Soal
Portend, 2021
Burnt and unburnt bamboo toothpicks held in polyurethane sealant on timber board
140 x 108 x 20 cm /
Barry Salzman,
A Ravaged Land Healing I-III | Karongi, Rawanda, 2018
Edition of 8
Archival giclée print on hahnemühle photo rag
Triptych : each panel 135 x 102 cm / 53.1 x 40.1
(includes 1cm border)
Maja Marx
Middleplace I, 2019
Oil on canvas
70 x 100 cm / 27.5 x 39.3 in.
“Developed as a response to the limitations on the physical display and viewing of art due to national lockdowns; the temporary closure of galleries and the suspension of art fairs, the aim of RESTUDIO is to repurpose our home as a novel model for engagement with art in Johannesburg, where we hope to encourage thoughtful conversations in addition to meaningful art patronage ”
Athi Patra Ruga
Nomalizo Study: GirlBoy Scene, 2021
Oil stick and pastel on canvas panel
61 x 45.7 cm / 24 x 179.9 in.
“Nomalizo Khwezi’s journey hinders her from enacting both traditional and modern ideals of “womanhood”. Nomalizo’s name means “she who brings reward”, and for Ruga, is also a reference to the Classic South African ballad sung by Letta Mbulu. Khwezi (meaning “morning star” ) is both a reference to the planet Venus and to the human rights activist Fezekile Ntsukela Kuzwayo or “Khwezi”, caught in the history of the 2005 Zuma Rape Trial. For Ruga, this marked the end of South Africa’s post-1995 Azanian ‘rainbow’ fallacy and disclosed a fraught government and nationalist myth, becoming a pertinent time for his practice.
When Nestra and Nomalizo join in fighting the common enemy — Memnus Brink — they are in fact killing the invisible enemy. Ruga turns the narrative of ‘the vengeful woman’ on its head, providing them with a depth of vengeance beyond merely a loveless marriage or domestic desire and rage. Memnus Brink stands as a representative for Neo-liberalism: of the exploitation of human capital for economic value; of mass-consumption and excess; privatisation; and ecological ruin. He is described by Ruga as a “grey suited, grey shoes, paisley tied, big spectacled, Mad Man type with a signet ring.” He is a corrupt and benevolent industrialist whose actions aid only his own gain — and it is from this that Nomalizo and Nestra untangle themselves from and rebel against. ”
Jed Gil
well, the line keeps going up and down, and the telcos have not completed yet, 2019
Oil paint, copper and glue on board
185 x 206 cm / 72.8 x 81. 1 in.
Cameron Platter
Hard Rain, 2020
Ink on paper
Each component 90 x 65 cm / 35.4 x 25.5 in.
Installation size 303 x 202 cm / 119.2 x 79.5 in.
Alice Mann
Drummies Series (Dernika Williams), 2017
Edition of 5
Inkjet print on hahnemule photo rag paper
61 x 76.2 cm / 24 x 30 in.
Alice Mann
Drummies Series (Taylim Prince), 2017
Edition of 5
Inkjet print on hahnemule photo rag paper
61 x 76.2 cm / 24 x 30 in.
“the Drummies series positions the photographed majorettes in a place of subjectivity that differs from Mann’s earlier work. If one solely focusses on the portraits, beyond the rough surroundings sometimes present in the images, one is forced to go beyond any preconceived idea and compelled to consider the many possibilities the future might hold for those girls and young women.”
- Christine Eyene
Alice Mann is currently preparing a book on the Drummies featuring an essay by Christine Eyene, to be published later this year.
Michele Mathison
Complaints and Compliments I, 2021
Steel and enamel
63 x 34 x 34 cm / 24.8 x 13.3 x 13.3 in.
Jake Aikman
Ghost Trees, 2020
Oil on board
61 x 54 cm / 24 x 21.2 in.
Asemhale Ntlonti
eZonzobileni I & II, 2020
Unthreaded polypropylene bags, soap and gold leaf on canvas
(left) 281 x 202 x 12 cm / 110.6 x 79.5 x 4.7 in.
(right) 283 x 205 x 12 cm / 111.4 x 80.7 x 4.7 in.
Michael Taylor
Moonlight Clowns, 2020
Mixed media on paper
90 x 70 cm / 35.4 x 27.5 in.