In Afterland
In Progress

The initial working title for the series was (de)constructions for Alkebulan, alleged as the oldest name for the African continent. Further to this, some of my earliest work consisted of photo constructions (Africana Collectanea 1994)  a medium not well surveyed in the context of South-African photography. Now, nearly three decades later, I have returned to this mode of photographic exploration, primarily as a result of the way in which the landscape has been altered. Every aspect of being in the world today, is under scrutiny and open to retrospection. These fragile threads connect the challenges facing the environment, ongoing wars and conflict as well as socio-political and -economic concerns. How does one live and continue to live when the past is a foreign country (Lowenthall).

I am acutely aware of the contestations and the binaries which the Western canon of art presents for an artist living on the African continent today. But to which point of reference does one return in order to continue your own in situ?

These digital photographic deconstructions, meticulously paired with synchronous landscapes, are the results of a reworking and reduction (redress) of critically selected works by artists who were emblematic in the timeline of a once familiar art history. Of further significance is a return to largely monochromatic landscapes, harvested from the African continent.