The formal aspects of the work entail a movement between the painterly and the linear, and between opacities and translucencies. The paintings and prints are colourful, layered and bold. The works are highly structured, but gain this structure through an exploratory process. What I explore in my artwork is a sense and experience of place. I understand the works as speculative arrangements of possible encounters in place. The works feel like expressions of the uncertainties entailed in a human relationship to place. While making the work I think about the clusters of influence in which people find themselves in an environment, and the possibility for movement through an increasingly restricted world. The method and metaphor of sketching is a central notion within my work. Sketching is a way to explore, demarcate, and understand. I have come to understand my art-making in painting, printmaking, sculpture, and drawing, as forms of sketching. The method and metaphor of sketching is the basis of my conceptualisation of an expression of movement through environments. Have a look at my inventory of paintings and prints and let me know if you are interested in any of them.

The discipline of painting is the core of my art practice. My ventures into sculpture, printmaking and drawing are all informed in some way by my relationship to painting. My paintings are also always made in series, usually with the idea of being available for exhibition in the form of installation. This is because the meaning of works of art occurs between the works as they are curated within a space. I have predominately painted in acrylic paint on hand stretched canvas frames. The medium of acrylic works well for my layered paintings that try to make sense of an experience of environments. The paintings are constructed with a range of source materials projected onto the surface, interpreted, extended, and transformed, often beyond recognition. Through a mediation on the canvas between thoughts, materials, and visual reference I create a painting-object that gives the viewer a way to access a hypothetical encounter between bodies in a place. I believe that the exploratory nature of art making, the tactile-visual dimensions of painting, and the affect of paintings on the body, gives us opportunities to question our past, current, and future experience our world, and the encounters that make the world.

Permeability, 2017
Acrylic on canvas
180 x 160 cm

Part of series:
Movement and its limitation within an environment
August 2017, David Krut Projects, Johannesburg

Observation at a road bend, 2017
Acrylic on canvas
180 x 160 cm

Part of series:
Movement and its limitation within an environment
August 2017, David Krut Projects, Johannesburg

Expend, 2016
Acrylic on canvas
180 x 160 cm

First exhibited:
Johannesburg art fair
September 2016, David Krut Projects, Sandton Convention Centre, Cape Town

Pendent (4), 2015
Acrylic on canvas
200 x 200 cm

First exhibited:
Transitions at the Post Office
22 Solomon Street, Vrededorp, Johannesburg
Curated by Danny Myburgh and Richard Forbes

Interruption, 2015
Acrylic on canvas
200 x 200 cm

First exhibited:
Towards Intersections: Negotiating Subjects, Objects and Contexts
May 2015, UNISA Art Gallery, Pretoria
Curated by Thembinkosi Goniwe

I have made a range of etchings in collaboration with the printmakers of David Krut Workshop. These experiences have been very valuable in the communication between myself and the team of printmakers: we would discuss techniques, formal elements of prints, and their relationship to my paintings. I have seen the etchings as a type of correspondence to my painting practice. The etchings explore similar conceptual areas as the paintings, and but though the range a mark-making possible through the techniques of etching: hardground, drypoint, aquatint, sugarlift, and chine-collé. These are works I could not make on my own, and the type of marks made in the etchings later influenced my paintings.

Untitled (Purple), 2016
Ed. of 6
Drypoint, chine-collé, sugarlift and aquatint on Hahnemühle
22 x 22 cm
Printer: Sbongiseni Khulu
Print workshop: David Krut Workshop

Untitled (Pink), 2016
Ed. of 6
Drypoint, chine-collé, sugarlift and aquatint on Hahnemühle
22 x 22 cm
Printer: Sbongiseni Khulu
Print workshop: David Krut Workshop

Untitled (Black and gray), 2015
Ed. of 15
Drypoint, hardground, chine-collé, sugarlift and aquatint on Hahnemühle
60 x 60 cm
Printer: Kim-Lee Loggenberg
Print workshop: David Krut Workshop

Untitled (White), 2015
Ed. of 15
Drypoint, hardground, chine-collé, sugarlift and aquatint on Hahnemühle
36 x 40 cm
Printer: Kim-Lee Loggenberg, with assistance from Caroline Robinson
Print workshop: David Krut Workshop

Choke point, 2014
Ed. of 20
Drypoint, hardground, chine-collé, sugarlift and aquatint on Hahnemühle
36 x 40cm
Printer: Jillian Ross
Print workshop: David Krut Workshop

Choke point, 2014
Ed. of 20
Sugarlift, aquatint and hardground on Hahnemühle
36 x 40 cm
Printer: Jillian Ross
Print workshop: David Krut Workshop

I have monotypes made in collaboration with David Krut Workshop, and and others made without collaboration inside my painting studio. My relationship with David Krut Workshop started with monotypes. These were very exploratory works that introduced me to a discursive printmaking environment, and was the first time I placed printmaking in relation to my painting. What I liked about the monotype process was the immediacy of the image, and the energy contained in the gestural line and form making. In hindsight this was the first time I linked the sketching process as an undercurrent to my painting and printmaking. I later started making encaustic works in my painting studio. Incorporating the monotype process in my painting studio was an important step in developing the show Movement and its limitation within an environment. The incorporation of the encaustic monotype process inside my painting studio allowed for an immediacy in the correspondence between painting and printmaking. It enabled me to look at my past works, and incorporate ideas and forms into a new iteration. In this show I would write to and from painting and printmaking, and also sculpture.

Forest area, 2017
Beeswax, dammar resin, pigment and stenciled spray paint on Awagami Bamboo Printmaking 110gsm
Printer: Quinten Edward Williams
76 x 56 cm

First exhibited:
Movement and its limitation within an environment
August 2017, David Krut Projects, Johannesburg

Industrial Yard, 2017
Beeswax, dammar resin, pigment and stenciled spray paint on Awagami Bamboo Printmaking 110gsm
Printer: Quinten Edward Williams
76 x 56 cm

First exhibited:
Movement and its limitation within an environment
August 2017, David Krut Projects, Johannesburg

Plain with roads, 2017
Beeswax, dammar resin, pigment and stenciled spray paint on Awagami Bamboo Printmaking 110gsm
Printer: Quinten Edward Williams
76 x 56 cm

First exhibited:
Movement and its limitation within an environment
August 2017, David Krut Projects, Johannesburg

Stepping out an area, 2017
Beeswax, dammar resin, pigment and stenciled spray paint on Awagami Bamboo Printmaking 110gsm
Printer: Quinten Edward Williams
76 x 56 cm

First exhibited:
Movement and its limitation within an environment
August 2017, David Krut Projects, Johannesburg

Three buildings, 2017
Beeswax, dammar resin, pigment and stenciled spray paint on Awagami Bamboo Printmaking 110gsm
Printer: Quinten Edward Williams
76 x 56 cm

First exhibited:
Movement and its limitation within an environment
August 2017, David Krut Projects, Johannesburg

Wall, 2017
Beeswax, dammar resin, pigment and stencil with spray paint on Awagami Bamboo Printmaking 110gsm
Printer: Quinten Edward Williams
76 x 56 cm

First exhibited:
Movement and its limitation within an environment
August 2017, David Krut Projects, Johannesburg

Enveloped (6), 2017
Beeswax, dammar resin and pigment on Awagami Bamboo Printmaking 110gsm
Printer: Quinten Edward Williams
76 x 58 cm

Part of series:
Movement and its limitation within an environment
August 2017, David Krut Projects, Johannesburg

Enveloped (5), 2017
Beeswax, dammar resin and pigment on Awagami Bamboo Printmaking 110gsm
Printer: Quinten Edward Williams
76 x 58 cm

Part of series:
Movement and its limitation within an environment
August 2017, David Krut Projects, Johannesburg

Enveloped (4), 2017
Beeswax, dammar resin and pigment on Awagami Bamboo Printmaking 110gsm
Printer: Quinten Edward Williams
76 x 58 cm

Part of series:
Movement and its limitation within an environment
August 2017, David Krut Projects, Johannesburg

Enveloped (3), 2017
Beeswax, dammar resin and pigment on Awagami Bamboo Printmaking 110gsm
Printer: Quinten Edward Williams
76 x 58 cm

Part of series:
Movement and its limitation within an environment
August 2017, David Krut Projects, Johannesburg

Enveloped (2), 2017
Beeswax, dammar resin and pigment on Awagami Bamboo Printmaking 110gsm
Printer: Quinten Edward Williams
76 x 58 cm

Part of series:
Movement and its limitation within an environment
August 2017, David Krut Projects, Johannesburg

No.9, 2013
Ink on Hahnemühle
65 x 63 cm
Printer: Jillian Ross
Print workshop: David Krut Workshop

No.10, 2013
Ink, and watercolour with chine-collé on Hahnemühle
65 x 63 cm
Printer: Jillian Ross
Print workshop: David Krut Workshop

No.11, 2013
Ink on Hahnemühle
65 x 63 cm
Printer: Jillian Ross
Print workshop: David Krut Workshop

Untitled (08), 2012
Ink on Hahnemühle
52 x 48 cm
Printer: Jillian Ross
Print workshop: David Krut Workshop

Untitled (09), 2012
Ink on Hahnemühle
65.7 x 62.5 cm
Printer: Jillian Ross
Print workshop: David Krut Workshop

Untitled (10), 2012
Ink on Hahnemühle
65.7 x 62.5 cm
Printer: Jillian Ross
Print workshop: David Krut Workshop