In the process of evaluating my life I found that my observations could be categorised loosely in four subsections.  With the Ephemera Series I address the fleeting happenings in our lives, the ephemeral. The Phobia Series depicts some of the fears I have but also articulates more general fears or feelings of unease. The Indulgent Object series is a collection of some of my favourite objects placed into new environments imbued with new associative significance. Finally there is the installation element of the Kraal.

The exhibition as a whole becomes a snapshot of my current state of mind. I have realised that I shall always be an outsider and that I am comfortable being it. I have come to the conclusion that it is sometimes the mere witnessing of the ephemera that makes our lives bearable, that it is possible to overcome phobias. Sometimes by merely acknowledging that our fears exist we render them harmless.

I have also learnt that although I am no longer object poor I shall continue to acquire more objects to pacify me because I deserve to be spoilt.

I might experience more rage than the average person. I might rant and rave more and I might have complex phobias but all in all I am quite content in my Kraal.

In the process of evaluating my life I found that my observations could be categorised loosely in four subsections.  With the Ephemera Series I address the fleeting happenings in our lives, the ephemeral. The Phobia Series depicts some of the fears I have but also articulates more general fears or feelings of unease. The Indulgent Object series is a collection of some of my favourite objects placed into new environments imbued with new associative significance. Finally there is the installation element of the Kraal.

The exhibition as a whole becomes a snapshot of my current state of mind. I have realised that I shall always be an outsider and that I am comfortable being it. I have come to the conclusion that it is sometimes the mere witnessing of the ephemera that makes our lives bearable, that it is possible to overcome phobias. Sometimes by merely acknowledging that our fears exist we render them harmless.

I have also learnt that although I am no longer object poor I shall continue to acquire more objects to pacify me because I deserve to be spoilt.

I might experience more rage than the average person. I might rant and rave more and I might have complex phobias but all in all I am quite content in my Kraal.

In the process of evaluating my life I found that my observations could be categorised loosely in four subsections.  With the Ephemera Series I address the fleeting happenings in our lives, the ephemeral. The Phobia Series depicts some of the fears I have but also articulates more general fears or feelings of unease. The Indulgent Object series is a collection of some of my favourite objects placed into new environments imbued with new associative significance. Finally there is the installation element of the Kraal.

The exhibition as a whole becomes a snapshot of my current state of mind. I have realised that I shall always be an outsider and that I am comfortable being it. I have come to the conclusion that it is sometimes the mere witnessing of the ephemera that makes our lives bearable, that it is possible to overcome phobias. Sometimes by merely acknowledging that our fears exist we render them harmless.

I have also learnt that although I am no longer object poor I shall continue to acquire more objects to pacify me because I deserve to be spoilt.

I might experience more rage than the average person. I might rant and rave more and I might have complex phobias but all in all I am quite content in my Kraal.

Look at me all puffed up with pride in front of my own painting that hangs in my dining room.

See how strangely effeminate I stand enviously in front of other artist’s painting in my lounge. All of them collected because I envy their technique or their subject matter. (Yes, it is an Andrew Mogridge peering balefully over my shoulder).

There I sit, practically incandescent with lust in my study next to an obscenely pink office chair.

Can you still remember how I seethed with rage over that critic for that show? And here they still hang in my passage after all these years.

Then the bathroom. I suppose the clock on the wall represents my conscience. Ticking away hour upon hour, lifetime upon lifetime while I lie in the bath or stand in front of the mirror staring lazily and appreciatively at my own face.

The bookshelf. Always we return to the greed for words. The greed for knowledge and understanding. Yet another tome, yet another encyclopaedia to cram into my overstuffed brain. More, more constantly, greedily more!

Finally the kitchen crammed with appliances to make more food. A steamer perched atop the cupboards next to the striped cookie tin, next to the espresso pot, next to the mixing bowl cum scale, next to the Soda Club maxi next to the Drappier Champagne. The irrefutable evidence responsible for the ever-increasing girth of the gourmand.

I am guilty on all accounts, seven times.

But still I keep my eyes closed in introspection. Reaching in for absolution, reaching back to the source echoing over decades and centuries. Trying to somehow get in touch with the Surrealists.

Die tema Vloeistof is so wyd dat ek as kunstenaar moet besluit waar ek my grense sal trek. Want in terme van aangehegte betekenisse is die woord vloeistof omvangryk. My werk het nog altyd op makroskopiese vlak gekyk na herinnering en verlies en in hierdie uitstalling werk ek weer met die twee konsepte as vertrekpunt. Ek stel belang in vloeistof in terme van water, bloed, strominge, reën, syfering, verdunning, vloei en vlugtigheid. Binne hierdie konsepte maak ek werk wat hopelik die kyker sal noop om deur middel van sy verwysingsraamwerke raakpunte te indentifiseer in sy eie lewe wat die werk sal ontsluit.

Die eerste organismes het uit die primordale slyk landwaarts gekruip en na millenia bote gebou om na ander kontinente te reis. So het mense – wat merendeels uit vloeistof bestaan- op die see (weereens vloeistof) gevaar en ander wêrelde gekoloniseer en sodoende het daar kultuurkontaminasies gebeur wat nuwe gebruike voortgebring het.

Niks in die wêreld kom tot stand sonder dat daar verliese is nie. Een kultuur moet iets inboet om ‘n ander kultuur te laat gedy.

Op ‘n sosiale vlak vestig ons nedersettings waar daar water is, soos die Olifantsrivier wat deur Vredendal loop. Op die rivierbanke plant ons wingerde en lê besproeiingskemas aan om gewasse te verbou. Die siklus van vloeistowwe is ‘n klein afskynsel van die ewigheid vasgevang in verdamping, wolkformasie, presipitasie, reën, absorpsie, groei, terugvloei en uiteindelike terugkeer na die see.

Vloeistof karteer nie net die natuurlike prosesse nie maar skep ook die verhoog vir ons herinneringe, ons liefdes, ons ekstases en vorm die neerslag van lewe.