1In an environment where art competitions come and go, I amproud to be the patron of Absa L ’Atelier’s 23rd competition. It’s notonly the oldest art award in the Southern hemisphere, it is also therichest in Africa. And it remains the most prestigious award onany South African artist’s CV.Aimed at nurturing young talent, Absa L ’Atelier has beeninstrumental in launching many careers in the visual arts.A number of the ﬁnalists have developed into success stories.Last year, the Alliance Française, the French Institute and theFrench Embassy renewed its sponsorship of the Gerard SekotoAward for the most promising artist with an income of lessthan R60 000 per annum. We thank them for their continuedsupport for L ’Atelier and their investment in our young artists.Further testimony to the success of our competition is the steadyrise in the quality of works entered. This year the standard wasexceptionally high, and the judges had their work cut out to selectthe ﬁnalists, the merit award winners and the two top awards.We at Absa also pay close attention to the concerns our youngpeople communicate through their art. It is quite moving howarticulate they are in the visual form they give to the challengesthey face.Violence and crime is still highly prevalent in their work.Lately issues of identity started surfacing, and this year a deepinner search was reﬂected in this regard.I would like to congratulate all of the winners. Make the most ofthis opportunity to further your careers.And to all the others:apply the valuable experience you have gained,and keep up the good work.We hope to meet you again next year!Steve BooysenAbsa Group Chief ExecutiveForeword
2Celia de VilliersCoordinator of National SelectionFrikkie EksteenPretoriaDavid JonesPort ElizabethTheo KleynhansCape TownMelissa MboweniJohannesburgAir ticket to Paris, France sponsored by AbsaThis catalogue has been compiled by Cecile Loedolff, Manager: Art, Group Marketing, Absa.Published by Absa, member of the Barclays Group.2008 Absa L ’Atelier Awards CatalogueISBN 978-0-620-41294-0National selection panelThe Absa L ’Atelier Art Competition is presented annually by Absa inconjunction with SANAVA (South African National Association for theVisual Arts). It is a competition for young artists in the age group 21 to35 years.Works of art were selected in Bellville, Bloemfontein, Durban,Johannesburg, East London, Port Elizabeth, Polokwane, Pretoria andThohoyandou by a local panel of selectors guided by Celia de Villierson behalf of the National President of SANAVA.The selected works ofart have been sent to Johannesburg for ﬁnal adjudication.The Absa L ’Atelier Award
3IntroductionArt gives us the opportunity to reappraise the ambiguities,which surround us and givenew meaning to them. In the Absa L ’Atelier Awards,this happens through a democrat-ic process of adjudication,which involves analytical viewing,interpretation,appraisaland the selection of artworks. Final decisions are based on socially determined factorssuch as the juror’s ethnicity,gender,knowledge of formal art principles and a familiar-ity with contemporary international art trends. Owing to these differences,there areoften disagreements,although this year’s winner was a unanimous choice. Once theselection has been made,the opinions of jurors are transferred to the viewers,resultingin the notion that the selected artworks are objects of value. This valuation is not onlyreliant on the juror’s understanding of the orthodoxies of a particular moment in thehistory of a society,but also an understanding of the viewer and the artist.The young artists who enter competitions like the Absa L’Atelier Awards do not merelyproduce artworks. They manipulate contemporary cultural signs.They reﬂect the chal-lenge of deﬁning and measuring the effectiveness of a sense of self within dominantsocio-cultural myths and media. For many artists,conveying meaning through thepresentation,measuring and shaping of attitudes and beliefs results in a confronta-tion of their personal fears.In 2008 this process of osmosis has revealed the currentthematic concerns of prohibition and transgression.With the unstable regulation of social order in South Africa at present,it seemsdeeply human for the average citizen to have an idealised,unrealistic and mythi-cal desire to be in a situation of predictable unity and stability. The current surge oftransgression against this impulse is reﬂected in numerous artworks. Two primarytaboos,death and sexuality, emerged repeatedly in all the adjudicated regions.Another theme this year was the acceleration of violence and its inﬂuence on youngpeople. These trends might be explained by the 20th century French writer GeorgesBataille,who has drawn attention to the inevitable connection between the horror ofdeath and eroticism,since both deal with mortality.The fear of death and pain is theopposite of pleasure,whereas eroticism holds the promise of the abolition of limitsand eventual immortality. The exponential presence of crime and the AIDS pandem-ic ensures that these thoughts pervade the consciousness of most contemporarySouth Africans. The narratives of the artists included in this show,many of which arepoetic in nature,evidence an emotional eroticism, which has today perhaps becomemore dependable than physical eroticism.To condense the selection of the 23rd Absa L ’Atelier Awards,one need only examinethe judges’criteria. It is hoped that the works on show will be found to be authentic,sincere and socially relevant,possessing integrity and a unique South African ﬂavour.Celia de VilliersCoordinator
4It is a singular privilege and with great satisfaction that I, on behalf of the SouthAfrican National Association for the Visual Arts (SANAVA), may extend a wordof warm appreciation to Absa, and its relevant personnel, for having organisedthis very successful 23rd Absa L ’Atelier Competition, hosted in collaboration withSANAVA. The sustained efforts by Absa in promoting the development of the visualarts, and in particular the artistic potential of all young South African artists, whosetalents should be stimulated or roused from its slumber, are indeed highly valued.I pay tribute to all participants in this esteemed, long running national competition,and congratulate those whose outstanding merit will be recognised.To those whohave not been fortunate enough, this time, to be selected for the top team, I wishto say‘bon courage’for next time. And to the judges, country-wide,‘many, manythanks’for the time that you have sacriﬁced during the adjudication process.Yourcontribution is much appreciated.Anton LoubserNational President, SANAVAAbsa L ’Atelier Competition : 2008
5Gerard Sekoto AwardGerard Sekoto (1913 – 1993)Sekoto was born at Botshabelo near Middelburg in the formerTransvaal on 9 December 1913. His early paintings depicted scenesfrom Sophiatown, District Six and Eastwood near Pretoria.He left South Africa in 1947 for Europe and settled in Paris in volun-tary exile where he lived until his death in 1993. As an African Parisianhe always yearned for his South African roots and identity, which hedepicted with much nostalgia in many of his works.In Paris and with the support of the French loving public, doors even-tually opened for Sekoto to explore his own creativity.With this awardwe honour Gerard Sekoto.The French Embassy, the French Instituteand the Alliance Française, felt it appropriate to create such an awardto support the most promising artist with an income of less thanR60 000 per annum.This award will hopefully open yet another doorfor a young South African artist in the city of love and art,namely Paris.
James Webb’s masterpieceWinner BellvilleAuto hagiographyMixed media69,5cm x 182cm x 64cm
7Christiaan Johannes Hattingh’s masterpiecePretoriaGenerate-mutate-translateInteractive digital projectionInﬁnite timeMeritAward
BellvillePortrait of schizophreniaPhotography151,5cm x 104cmMeritAward Lunga Kama’s masterpiece
9Alhyrian Laue’s masterpieceMeritAwardPort ElizabethAn evening of social tightrope walkingMixed media180cm x 73cm x 60,5cm
11PretoriaDissolved coursePhotographic print84cm x 116,5cmGerardSekotoAwardSophia Margaretha (Retha) Ferguson’s masterpiece
Top ten ﬁnalists1 Suzanne Duncan3 Retha Ferguson2 Stephan Erasmus4 Christiaan Hattingh
135 Lunga Kama8 Antonia Steyn6 Alhyrian Laue9 James Webb7 Stephen Rosin10 Sicelo Ziqubu
14Profile:Armstrong was born in 1985 and studiedBA(FA) at Rhodes University,Grahamstown.Description of artwork:The Rabbit-women were made withouta predetermined theme or concept andcame from the artist’s subconscious dreamstate.The human-animal hybrid seemsto embody the mixed symbolism andincongruities that occur in dream states.The overtly feminine rabbits have astrong resonance of fragility and vulner-ability.This is evident in the heavily preg-nant stomachs and the precariousnessof the rabbits’relationship to the ground.Pregnancy could be a dual metaphorfor the anticipation of subconsciousthoughts that seem to grow and emergein one’s dreams and of the cavities inwhich one hides and hibernates.Armstrong, Beth DianeEast LondonRabbit-womenMixed media(Triptych)a) 125cm x 40cm x 40cmb) 125cm x 40cm x 40cmc) 125cm x 40cm x 40cm
15Armstrong, Beth DianeEast LondonBird-menMixed media(Triptych)a) 43cm x 13,5cm x 15cmb) 43cm x 13,5cm x 15cmc) 43cm x 13,5cm x 15cmDescription of artwork:The Bird-men were created from a subcon-scious dream state. The overtly masculinebirds seem to speak of vulnerability that,although they appear proud and powerful,they actually are quite impotent in theirinability to ﬂy – as their arms merge intoamorphous,ﬂightless wings.
16Arthur, KateEast LondonUntitled (Father)Oil on canvas200cm x 149cm
17Profile:Arthur was born in 1985. She studiedBA(FA) at Rhodes University,Grahamstownand is currently reading for an MA(FA) atRhodes University,Grahamstown.Description of artworks:The two larger-than-life portraits ofthe artist’s parents were painted in anexercise of dedication to examine andexplore the geography of two faces sheknows so well. Yet at the same time shehas difﬁculty penetrating the psyche ofthe individuals (hence the closed eyes),because it is only now, as she is becom-ing an adult, that she realises that hermother and father are not just parentsbut unique individuals. Painting theirfaces in this manner was part of a pro-cess to understand them, herself andtheir relationship.East LondonUntitled (Mother)Oil on canvas200cm x 148cmArthur, Kate
18Profile:Bissett was born in 1982.Bissett, Diederik Johannes MüllerPretoriaOranje, blanje, blouGraphic print93cm x 150cmDescription of artwork:The graphic print resembles a ﬂag dueto its format, which derived from astill frame animation.The animationconsisted of three separate panels, whichfunctioned independently as well asinter-dependently.The print does notcontain all the images but only sectionsthereof. Although the title points to po-litical undertones, it can be experiencedas a fun piece.
19Profile:Botha was born in 1985 and studiedBA(FA) at the University of the Free State,Bloemfontein. She is currently reading foran MA(FA) at the University of the FreeState, Bloemfontein.Description of artwork:The painting portrays two enlarged feetwith ballet shoes. Conceptually the art-work comprises of the dialectic relation-ship between anti-theatricality in a spaceof theatrical performance.Botha, Anna Magrietha (Magriet)BloemfonteinVoetnotaOil on canvas170cm x 170,5cm
20Profile:Chiazzari was born in 1985 and studied forthe National Diploma in Studio Arts at theNelson Mandela Metropolitan University,Port Elizabeth. She also obtained the BTechdegree in Stained Glass cum laude at theNelson Mandela Metropolitan University,Port Elizabeth.Description of artwork:This body of work is based on an explora-tion into the theme of woman and vanity.As a medium, glass has an essential link tothis association.Women, when looking ina mirror, can be said to gaze at themselvesin a way that can be described as“lookingto be looked at”, which allows them to con-struct a sense of self and femininity froma voyeuristic perspective.The four stainedglass windows are symbolic of the dailybattle between reﬂection and reality.Thesewindows are mounted in baroque stylemirror frames, suggestive of classical idealsand ornament.These frames have areasof translucency that suggest skin and therelationship between interior and exterior,body and beauty.The signiﬁcance of the work is to illustratethat women are routinely encouraged froman early age to take care of and main-tain the beautiful exterior that is vital tosociety’s concept of femininity.Women areencouraged to accept this attitude towardstheir gender and are further expected tobehave and dress in a way that caters forthis system.Chiazzari, Anva MayPort ElizabethSeries 1: Put a tiger in your tank , An inch of glamour, Lash me and Stay lacedMixed media(Four-part)74cm x 50cm each
21Claassens, Katrine BrinkProfile:Claassens was born in 1985 and studiedBA(FA) at the University of Stellenbosch.Description of artwork:The work comprises an installation of sixoil paintings with each painting depict-ing sparklers in the night.The paintingsare executed on board and framed on theback in order not to overwhelm or distractanything from the ﬂeeting quality of thesmall works.The source material for thepaintings were found on the Internet andtranslated into oil paint, a more formalmanner of representation.BellvilleLast chance lost (Sparklers, 1997)Mixed media(Six-part)a) 19,5cm x 32cmb) 22,5cm x 17,5cmc) 22,3cm x 27,5cmd) 20cm x 23cme) 27,5cm x 30,5cmf) 17cm x 21,5cm
22Profile:Conradie was born in 1973 and studiedBA(FA) at Unisa, which he obtained cumlaude. He also obtained an MA(VA) at theUniversity of Pretoria.Description of artwork:These artworks consist of two close-updigital prints of decaying leather,printedback onto leather.The images were taken inPaul Kruger’s ofﬁce in Pretoria of his chair,now eerily silent and strangely empty.Theambiguity of passage ways and transitionalspaces are used to construct an aestheticof anticipation.The immaterial,allusivedetails of the images offer only a frame-work of association,signifying states ofchange,loss and absence.Conradie, Johannes Hendrik (Johan)PretoriaCouncil chamber I & IIDigital print on leather(Diptych)a) 60cm x 87cmb) 60cm x 87cm
23Profile:Danca was born in 1978 and studiedGraphic Design at the Durban Insti-tute of Technology. He has participat-ed in several exhibitions.Description of artwork:The artwork portrays grannies whoare always there to do the shoppingand the artist hopes that it willnever change.Danca,Welcome S’phiweDurbanShoppingAcrylic on board50,5cm x 66cm
24Description of artwork:In the townships young children visitthe taverns because this is where theyexperience fun and at the end of theday they end up falling in love with asugar mama.Danca,Welcome S’phiweDurbanTavernAcrylic on board50,5cm x 66cm
25De Beer, Carolina Davidina (Davina)Profile:De Beer was born in 1982. She studiedBA(FA) as well as MA(FA) at the Universityof the Free State, Bloemfontein.Description of artwork:De Beer focused her research on theraptures that occur in the continuity offamily memories. Distorsie (Distortion)addresses aspects of memory preser-vation that deals with estrangement,anonymity, absence and mortality.Theinterplay between exposure and conceal-ment is used to examine the discontinu-ities in history and memory in the privateand public spheres.‘Distorsie’invokesfamily history simultaneously as speciﬁcand universal and explores differentvariations of the past.BloemfonteinDistorsieMixed media82cm x 122cm x 86,3cm
26De Jager, RonélJohannesburgHusse met lang oreMixed media(Eight-part)88cm x 21cm eachProfile:De Jager was born in Johannesburg in 1985.Description of artwork:The title of the work refers to an old Afri-kaans expression to identify children whoare very curios and nosy about something.
27Profile:Duncan was born in 1981 and studiedBA(FA) at the Michaelis School of Fine Art,University of Cape Town.Description of artwork:The handkerchief and the roll of gauzeboth refer to the vulnerability of the body.Gauze is used in the attempt to protecta wound while the handkerchief is usedto hide and clean up the bodily ﬂuidsthat may otherwise expose that whichis unsanitary.Without these protectiveimplements we would be in closerproximity to the animal.Duncan, Suzanne Elizabeth BeavanBellvilleGauze and handkerchiefHuman hair(Diptych)a) 73cm X 60cmb) 73cm X 60cm
28Erasmus, Marthinus Stephanus (Stephan)JohannesburgThe boatMixed media200cm x 200cm x 200cmProfile:Erasmus was born in 1976. He studiedfor the National Diploma in Fine Arts atthe Technikon of the Witwatersrand aswell as for the BTech (FA) degree at theTechnikon of the Witwatersrand. He alsocompleted a Master’s degree in Fine Artsat the University of the Witwatersrand.He has participated in several exhibitions,including the Absa Atelier Exhibitionin 2000 as well as the Absa L ’AtelierExhibitions in 2004 and 2006.Description of artwork:The boat is constructed fromapproximately 65 460 matchsticks onwhich the words‘I love her’were writtenon all four sides.This work focuses on two main ideas,the metaphor of the boat as the lovebetween two people, sailing a river oflife and the obsessive nature with whichwriting and construction has beencarried out.The metaphor of the‘love boat’traversing an ocean can be found invarious examples in contemporarylove songs.Through this work thismetaphor is made physical.Where thefragile matchsticks construction mirrorsthe fragility of the love between twopeople and the match’s potential of ﬁrebecomes passion.The river carrying theboat becomes life, through which therelationship has to navigate calm wateras well as raging torrents while keepingtogether those it carries. Here the water asa base element stands in direct oppositionto the element of ﬁre,as once was said‘there is love and its enemy is life’.
29Profile:Essop was born in 1985 and studiedBA(FA) at the Michaelis School of Fine Art,University of Cape Town.Description of artwork:Kavali is the traditional name for thisgenre of music, predominantly Indian.The image presents the artist’s traditionand heritage that has been passed downby generations.Taken in Bo-Kaap (Thenoon gun), the environment creates theatmosphere for a spiritual calling.Themusic is played to strengthen one’s faith.Essop, HasanBellvilleKavaliPhotographic print88cm x 129cm
30Profile:Essop was born in 1985 and studiedBA(FA) at the Michaelis School of Fine Art,University of Cape Town.Description of artwork:The title of the work describes the groupto which the uniform belongs.The imagecomments on the‘Coon’culture thatexists strictly in Cape Town. It originatedfrom the slaves who arrived in CapeTown with the Dutch occuption, of whommany were Muslim or converted toIslam. Not being allowed to practise theirreligion, they found ways to pray throughsong, and when questioned about it theirresponse was that they were having aparty. It has thus evolved over time and isstill practised today, changed to suit thevibrant atmosphere of Cape Town.Essop, HusainBellvillePennsylvaniansDigital photographic print88cm x 129cm
31Profile:Etsebeth was born in 1986 and iscurrently studying Fine Arts at theUniversity of Johannesburg.Description of artwork:The work depicts abused children inSouth Africa and represents a child’s viewof his/her abused life.Etsebeth, ChanelJohannesburgMy birthday wishSilkscreen44cm x 73,5cm
32Profile:Ferguson was born in 1984 and studiedBA(FA) at the University of Pretoria. She hasparticipated in several exhibitions, includingthe Absa L ’Atelier Exhibition in 2007.Description of artwork:The work attempts to dissolve prevalenttendencies in contemporary art discourse,which force artworks to conform to academi-cally rigid readings. By refusing to supply theviewer with any absolute meaning, the worksupports a more organic, ﬂuid approach in artdiscourse. It highlights the intangible aspectsof art and compels the viewer to confrontthe work on a subconscious level ratherthan taking a theoretically loaded approach.Consequently the work invites the viewerto develop a totally subjective and personalinterpretation, insisting that there is no ab-solute meaning to art as there is no absolutemeaning to the world itself.Ferguson, Sophia Margaretha (Retha)PretoriaDissolved coursePhotographic print84cm x 116,5cm
33Profile:Fourie was born in 1984 and studied forthe National Diploma in Fine Arts atthe Tshwane University of Technology,Pretoria. He is currently studying forthe BTech(FA) degree at the TshwaneUniversity of Technology, Pretoria.Description of artwork:The video captured a request sent froma cellphone to the I-ﬁnd InformationDirectory service. The request is to ﬁndGod. The primary concept behind thework is that in the daily information agein which we live, it is possible that onecan experience divinity via somethingthat is so second-hand and has beenthe by-product of mercantile-orientatedbusiness.We would rather surroundourselves with our own creations thanwhat has existed for millennia.Fourie, Louis FrancoisPretoriaExpostulationDigital video1min 49sec
34Profile:Fuller was born in 1974 and studiedBA(FA). He has participated in the AbsaL ’Atelier Exhibition in 2007.Description of artwork:If is a portrait of the artist and hisbrother standing side by side. It wastaken with a camera built by the artisthimself. The camera has hundredsof lenses, which work together as aunit. Although each is unique in theway in which it lets the light into thecamera, they share a common thread.This thread is a moment or a view thatthey witness together. In this case it isthe event of the artist and his brotherstanding together. Next to the artist’sghostlike image he appears as a fainttrace, almost impossible to discern. Ifthings had been different they maynever have had the chance to share thismoment as the artist only learnt that hehad a brother when he was 25 years old.The myriad different images of themstanding together is a suggestion of allthe ‘ifs’ that surround their relationship.For each it is the ﬁrst step on a path to atangled mess of speculation.Fuller, St John James ZairJohannesburgIfPinhole photography155cm x 106cm
35Description of artwork:Been there is a photograph of theNatural History Museum in Pretoria.It has been taken with a camera builtby the artist himself. The camera hashundreds of lenses, which work togetheras a unit. Although each is unique in theway in which it lets the light into thecamera, they share a common thread.This thread is a moment or a view thatthey witness together.In this case it is the museum and theskeleton that hangs outside the museum.The photograph can be seen as a busloadof tourists who are disembarking. Eachhas a moment to look around, to take inthe view. For some the ability to see andrecollect clearly at a later stage is strong.The memory is deﬁnite but for othersthis is not the case.Fuller, St John James ZairJohannesburgBeen therePinhole photography155cm x 106cm
36Profile:George was born in 1974. She studied forthe National Diploma in Fine Arts at theTechnikon Free State, Bloemfontein. Shealso studied for the BTech (FA) degree atthe Technikon Free State, Bloemfontein.She has participated in several exhibi-tions, including the Volkskas Bank Atelierexhibitions in 1996, 1997 and 1998. Shealso participated in the Absa AtelierExhibition in 1999 and the Absa L ’AtelierExhibition in 2002.Description of artwork:This work incorporates discarded andbanal found objects, loaded with intima-tions of decay and degeneration. Redun-dant items, each at a different stage ofdecay, become the protagonist of death.Mites, dust and dirt also play an integralrole in the process of death. In theseworks the hypothesis of the formerlyvaluable items comes into play, anothermetaphor for the status of death.George, Peneria Venessa Ansley (Penny)BloemfonteinMite in butterﬂy wing,Dust mite in digestive system of a snail andLeaf mite Protozoa Tetrahymena PyriformisMixed media(Triptych)a) 70cm x 70cmb) 59,5cm x 59,5cmc) 60cm x 60cm
37Profile:Grobler was born in 1974. She studiedBA(FA) as well as MA(FA), which sheobtained with distinction from theUniversity of Stellenbosch. She hasparticipated in several exhibitions,including the Absa L ’AtelierExhibitions in 2005 and 2006.Description of artwork:This work is based on a sketchbookof observational drawings (a type ofvisual journal) made during a residencyin Solothurn,Switzerland.The selectedimages are of people/animals/objectsin transit.Grobler, LizaBellvilleTravel drawings (Switzerland)Mixed media200cm x 200cm
38Profile:Hattingh was born in 1974 and studiedB.Eng (Metal) at the University ofPretoria. He obtained a certiﬁcate inProfessional Photography at the NewYork Institute of Photography. He alsostudied BA(C&A) at Unisa, which heobtained with distinction.Description of artwork:Generate-mutate-translate expands theconcept of algorithmic interaction to amacro scale: life-systems on earth arealso subject to dynamically programmedalgorithmic sets, which interact witheach other: an example is genetic code,which in essence is a type of algorithmicprocedure combining strands of DNA toproduce a particular sequence of code(that generates a particular organism).Through the inﬂuence of the environ-ment and natural/artiﬁcial selection thebest ‘algorithm’survives, enabling theorganism to adapt and recreate.Generate-mutate-translate is a fantasybased upon this concept: algorithmicallygenerated forms are mutated, hybridisedand presented as an interactive specieschart. The species chart can be navi-gated and enlarged to show details of aparticular algorithmic form, allowing theuser to also switch between multipletranslations of the code. The generativealgorithms that form the underpinningof this work are based upon Lindenmayersystems.Hattingh, Christiaan JohannesPretoriaGenerate-mutate-translateInteractive digital projectionInﬁnite time
39Description of artwork:A high-end camera that analyses theimage before it and then selects the mostappropriate exposure setting is a typicalexample of a pattern recognition algo-rithm that employ‘fuzzy logic’. Patternrecognition as a concept is considered asone of the primary ingredients of machineintelligence (Theodoridis 2003:1).The workpattern recognition‘plays’with the notionof compulsive pattern recognition – asituation where the recognition algorithmdoes not necessarily have functional value,but instead exhibits characteristics akin toa phobia – as in the ﬁlm‘A beautiful mind’(2001),where the main character exhibitsnegative side effects as a result of hisextraordinary ability to recognise patterns.Pattern recognition ponders whetherartiﬁcial intelligence could exhibit thesame compulsive behaviour.Hattingh, Christiaan JohannesPretoriaPattern recognitionInteractive digital projectionInﬁnite time
40Profile:Human was born in 1981. She studiedBA(FA) at the University of theFree State, Bloemfontein. She hasparticipated in several exhibitions,including the Absa L ’Atelier Exhibitionsin 2003, 2004 and 2006.Description of artwork:The artwork consists of roses andpatterns layered on an orange/yellowbackground with a springbok symbol andemblems hidden in the background.Human, Phyllis Marjorie (Neé Vermeulen)BloemfonteinRoses and antelopesMixed media160,5cm x 160cm
41Profile:Janse van Rensburg was born in 1985 andstudied for the National Diploma in FineArts at the Tshwane University of Technol-ogy,Pretoria. She also obtained a BTech(FA)degree with distinction at the TshwaneUniversity of Technology, Pretoria.Description of artwork:The installation consists of woodenparquet ﬂoor pieces, with cut-out ﬁguresin the centre of every block. There is aslight disruption in the pattern as oneblock is left out and a bigger versionof the ﬁgure appears in the bottomleft corner. The medium used is acombination of Rhodesian teak andpink beachwood because of its softand feminine qualities.Janse van Rensburg, DanéllePretoriaFragments of herMixed wood200cm x 200cm
42Profile:Jansen van Vuuren was born in 1985 andstudied BA(FA) at the University of theWitwatersrand. He is currently readingfor an MA(FA) at the University of theWitwatersrand.Description of artwork:Jansen van Vuuren’s work deals withcontemporary portraiture, focusing onthe angst, fears, apathy, joy, generalconcerns, pre-occupations and intimatethoughts of his subjects towards con-temporary living in South Africa. Theseconcerns are interrogated throughﬁlmed interviews from which stills areisolated and edited to be used as sourcematerial for the paintings.Conversation II was painted from a seriesof edited digital photographs takenduring an interview with a womanwhen questions were asked about whatangered her in South Africa.Jansen van Vuuren, NathanJohannesburgConversation IIOil on canvas100cm x 100cm
43Profile:Kama was born in 1982.Description of artwork:This colour photograph is a sensitiveimage of mental illness and depression.Kama, LungaBellvillePortrait of schizophreniaPhotography151,5cm x 104cm
44Profile:Keith was born in 1972 and studiedBA(FA) at the University of Pretoria. Shealso studied MA(FA) at the Universityof Stellenbosch. She has participated inseveral exhibitions, including the VolkskasBank Atelier Exhibition in 1996, the AbsaL ’Atelier Exhibitions in 2006 and 2007where she was selected as one of the topten ﬁnalists.Description of artwork:Keith reworks the multifold, simulta-neous and confusing inner and outerrealities experienced by young womenof today.The impact and relevance of herpaintings extend beyond the conﬁnes ofany particular group. For it is the rapidlychanging and ﬂuid character of identi-ties she is exploring. Selfhood appearsto draw upon interplay and fusion ofvarious inﬂuences, often rooted in agony– stemming not only from the artist’spersonal experience, but perceived in thelives of others.Keith, MarliseBellvilleMoerMixed media100cm x 99,5cm
45Profile:Keyser was born in 1985 and is currentlystudying for the National Diploma inFine Arts at the Tshwane University ofTechnology, Pretoria.Description of artwork:This artwork is a solid cement tower withtaps running through it. It is coveredwith red and green patina.This workis a personal comment on thirst in ourcountry and is a metaphor for a thirst forthe Word of God.Keyser, David Johannes Petrus (Duif)PretoriaDie warm kraanCement and iron192cm x 75cm x 62cm
46Profile:Khoza was born in 1986 and is currentlystudying Fine Arts at the University ofJohannesburg.Description of artwork:In this artwork entitled Aliens, Khozadepicted Nigerian (yuruba) sculptures asa metaphor for the foreigners that invadeour country. He focussed more on theNigerians because they are oftennotorious and they stand out in a crowdbecause of their height and the clothesthey wear. Many of them sell drugs inJohannesburg and therefore he tries toconvey the way in which many SouthAfrican people perceive the Nigerianpeople as criminals, and they arethreatened by them.Khoza, JitoJohannesburgAliensAcrylic on canvas board(Triptych)a) 25cm x 25cmb) 25cm x 25cmc) 25cm x 25cm
47Profile:Kocha was born in 1985 and studied forthe National Diploma in Fine Arts atthe Tshwane University of Technology,Pretoria. He is currently studying forthe BTech(FA) degree at the TshwaneUniversity of Technology, Pretoria.Description of artwork:This work addresses the need for read-ing in South Africa. Instead of listeningto instructions the South African soci-ety should read. The small print is notthere to fill the space. Read the termsand conditions.Kocha, Mohlomi LehlohonoloPretoriaOpen your eyes to hearChalk on canvas(Five-part)30,5cm x 40,5cm each
48Profile:Kritzinger was born in 1985 and studiedBA(FA) at the University of Pretoria. Sheis currently reading for an MA(FA) at theUniversity of Pretoria.Description of artwork:In The abyss one is confronted withthe‘Tokkelossie’in abstract form, as amonster creeping into one’s dreams.The sculpture is stacked on bricks, inorder to keep the short creature at bay.The‘Tokkelossie’is notorious for rapingpeople in their beds while they are sleep-ing at night.The phenomenon stronglyrelates to small children being molestedin their homes by family members. Hor-riﬁc situations like molestation usuallycontinue for years and become a livingnightmare for the victims.Kritzinger, LouiseJohannesburgThe abyssMixed media200cm x 93cm x 82cm
49Profile:Kruger was born in 1972 and studiedBA(FA) at the University of Stellenbosch.She also obtained a MTech(FA) degreewith distinction from the Technikon ofthe Witwatersrand. She has participatedin several exhibitions, including the AbsaAtelier Exhibition in 1999 and the AbsaL ’Atelier Exhibition in 2006.Kruger, MariekeBellvilleHannah IMixed media34cm x 101cmDescription of artwork:The artwork, which consists of a seriesof ﬁve prints, pays tribute to the artist’sgrandmother who died in 1977. Krugerwas only four years old at the time of herdeath, but she can still remember thepersonal encounters she had with heras a child. Much controversy surroundedher death at the time, seeing that shecommitted suicide.This artwork dealswith issues surrounding physical,spiritual and emotional loss, her ownidentity as well as memories of hergrandmother. She also explores issuesconcerned with the separation thatcomes with the death of a loved one.
50Laue, Alhyrian Albert BishopPort ElizabethAn evening of social tightrope walkingMixed media180cm x 73cm x 60,5cmProfile:Laue was born in 1985 and studiedfor the National Diploma in Fine Artsat the Nelson Mandela MetropolitanUniversity, Port Elizabeth. He is currentlystudying for the BTech(FA) degree atthe Nelson Mandela MetropolitanUniversity, Port Elizabeth.
51Laue, Alhyrian Albert BishopPort ElizabethCulp shrinkingMixed media124cm x 91,5cm x 101cmDescription of artworks:Laue explores the metaphorical interplaybetween masculine and feminine,and the space between these twoopposing‘bodies’.These sculpturesmay be described as the space wherethese‘bodies’, or binary qualities, lockin perpetual attraction towards theirpotential consummation.The space thatis also the sculpture may equally be seenas a delay of the inevitable marriage, thestructural default to transform.The cupboard which forms the sculp-ture’s body can be read as a vessel ofalchemical process where oppositesinterweave in search of fusion.
52Profile:Le Roux was born in 1973 and studied forthe National Diploma in Fine Arts at theTechnikon Pretoria. He has participated inseveral exhibitions, including the VolkskasAtelier Exhibitions in 1996 and 1997.He also participated in the Absa AtelierExhibition in 2000.Description of artwork:With this work, entitled Stoel met stukhout en ysterklip is an anthropomorphicdiptych of lab chairs that may be seen asa family of some sort, like a husband andwife proudly standing next to each other.The ﬁrst chair is portrayed with an erectpiece of wood, which is partly damagedon the one corner, and the second chairhas a stone on it, it could remind us of thephrase,“When you strike a woman youstrike a stone”.The work is very quietand formally clean with astonishingattention to detail.The entire piece ismade of manipulated steel.Le Roux, RenierPretoriaStoel met stuk hout en ysterklipSteel(Diptych)a) 87,5cm x 48cm x 36,5cmb) 80cm x 50cm x 36,5cm
53Profile:Liversage was born in 1973 and studied for the NationalHigher Diploma in Fine Arts at the Technikon of theOrange Free State, Bloemfontein. She also studiedfor the BTech(FA) degree at the Technikon FreeState, Bloemfontein. She has participated in severalexhibitions, including the Volkskas Bank AtelierExhibitions in 1995 and 1996. She also participated inthe Absa L‘Atelier Exhibition in 2005.Description of artwork:The subject matter concerns urban symbols.Themedium is silk ribbons, which is associated with theawareness on social issues affecting primarily thevulnerable sectors of society namely women andchildren.These symbols are used as visual messagesof protest against the turbulence and crisis, which hasaffected South Africa’s social structure and remainsone of the greatest challenges of our times.The subject matter is a Protea, which is SouthAfrica’s national flower. This symbol is used asa national road sign in South Africa to identifya conservation area. Conserving indigenousvegetation has become a priority in our country andshe linked this element with the silk ribbon wornto generate awareness of three epidemics. Thered ribbon creates awareness of HIV/Aids, whilstthe white ribbon symbolises unity against abuseof women and children. The pink ribbon createsawareness of breast cancer amongst women.Liversage, Kilmany-Jo (Neé Hunt)BellvilleNational tribute I, II, IIIMixed media(Triptych)a) 69cm x 107cmb) 69cm x 107cmc) 69cm x 107cm
54Profile:Lossgott was born in Germany in 1980and studied BJourn at Rhodes Univer-sity, Grahamstown. He also obtainedan Advanced Diploma in Visual Artsfrom Unisa.Description of artwork:The video is a meditation on time,language and the changing body. Unlikeplants, which blossom, bear fruit anddie, human life is linear.We are differentpeople at different times, as we grow andadapt we invent personal myths to makesense of the constant radical changes inthe fast-paced world around us. Perhapswe are not evolved enough to live atthis speed. In this video, images of theartist between the ages of ﬁfteen andtwenty-eight built into sequences, whichinterrupt themselves, run backwards attimes and blend into each other alongthe symmetrical growth cleft, whichunites all mutations of sentient life.Plant, human or animal, our biologicalprocesses bear certain similarities, andthese processes are the only things wecan be certain of.Lossgott, KaiBellvilleCull’tivateVideo3min 9sec
55Lückhoff, Albert BailieBellvilleWorld-wide warming (global warming)Acrylic on canvas70cm x 100cmProfile:Lückhoff was born in 1972. He attendedart classes at the Community ArtCentre. He has participated in severalexhibitions, including the Absa L ’AtelierExhibition in 2005.Description of artwork:In this work Lückhoff addresses the issueof global warming.
56Lückhoff, Albert BailieBellvilleBiosphere (Nature reserve – United Nations)Oil on board58cm x 176,5cmDescription of artwork:Biosphere depicts aspects of nature asseen in this landscape painting.
57Profile:Machaba/Baloyi was born in 1974 andwas taught art while he was serving18 years in prison.Description of artwork:Machaba/Baloyi depicts the dailyrituals of women in a communitywhere they are often taken forgranted. Women provide stabilityin society and through this stabilitythey prevent crime.Machaba/Baloyi, Samuel PheaganaPolokwaneLife goes onAcrylic on canvas55cm x 63,5cm
58Profile:Mailula was born in 1981 and studied forthe N6 National Certiﬁcate in Art and De-sign at the Northern Province CommunityCollege.Description of artwork:Mailula portrays a women’s culturalgroup dancing in a place called Motumoin Matoks (Botlokwa).Mailula, Sepolwana JonasPolokwaneCultural danceAcrylic on board57cm x 76,5cm
59Profile:Makgahlela was born in 1981.Description of artwork:The jeer jeopardises and kindles discord.Gossip and lies are unacceptable.Makgahlela, SeemaPolokwaneLying womenWood83cm x 35,5cm x 32,5cm
60No pic suppliedNNNNoooo ppppiiicccc ssssuuuupppppppplllliiiieeeeeeeeeedddddddddMakoba, RamaruthaJohannesburgRecognise the childMarley tile etching70cm x 90cmProfile:Makoba was born in 1984 and studied artat Fuba as well as at the Artist Proof Studio.Description of artwork:Makoba expresses the fact thatwe need to recognise and supportour children who need guidance toinfluence their future.
61Profile:Marx was born in 1977 and studied forthe BTech(FA) degree at the TechnikonPretoria. She is currently reading for anMA(FA) at the University of the Witwa-tersrand. She has participated in severalexhibitions, including the Absa AtelierExhibitions in 1999 and 2000.Description of artwork:Marx worked with frozen bodies ofwater as surface for inscription. As alandscape intervention, the work involvedthe moving of stones in a wheelbarrowover a substantial distance, from theriver Rhône to a leak in the heart of Boisde Finges in Sierre, Switzerland and thesubsequent placing, writing with stoneonto the precariously frozen surface ofthe water.The artwork employs palimpsestand erasure as device: in writing withstones on ice, I created a Freudian‘mysticwriting pad’or‘perceptual apparatus’.The impact of the work is accentuatedby one’s ability to envision the text beingswallowed by the water as the ice melts.Marx, Maja (Neé Pfeiffer)JohannesburgI am the world on which I walkDigital photograph(Triptych)a) 69cm x 92,5cmb) 69cm x 92,5cmc) 69cm x 92,5cm
62Description of artwork:Pedestrian poetry, points to an urbanaccount of landscape inscription: in ap-plying a textual intervention on systemsof both access and division as is foundin the case of busy roads and pedestriancrossings in central Johannesburg. As aterm, pedestrian poetry is indicative ofthe manner in which pedestrians walkthe city as a text, with‘walking’pointingto the narrative unfolding the text. In thissense, the speciﬁc locations chosen forthe project are crucial; as one of the busi-est inner-city throughfares.Twist Streetrepresents a dynamic combination of dif-ferent modes of movement, an exchangeof different nationalities and a generalspace of cultural negotiation.Marx, Maja (Neé Pfeiffer)JohannesburgPedestrian poetry: In & OutDigital photographic print68,5cm x 92,5cm
63Profile:Maswanganyi was born in the village ofNoblehook, Giyani, in 1977. He obtainedthe National Diploma in Fine Arts at theTechnikon of the Witwatersrand. Hisfather, the well-known sculptor, JohannesMaswanganyi, taught him woodcarving.He has participated in several exhibitionsnationally and internationally, andreceived several awards. He was selectedas one of the top ten ﬁnalists of the AbsaAtelier Exhibition in 2001.Description of artwork:Three wooden ﬁgures are carved out andplaced on a wooden base depicting theseﬁgures as thinkers who are respectedby their communities.Wherever they gothey are treated as celebrities.Maswanganyi, CollenJohannesburgThinking tanksWood and paint40cm x 22cm x 30cm
64Profile:Matthews was born in 1982 and studiedfor the National Diploma in Fine Artsat the Nelson Mandela MetropolitanUniversity, Port Elizabeth. He obtainedthe BTech(FA) degree cum laude from theNelson Mandela Metropolitan University,Port Elizabeth. He has participated inseveral exhibitions, including the AbsaL ’Atelier Exhibitions in 2006 and 2007,where he received a Merit Award.Description of artwork:A wetter nurse seeks to criticize thevery thought processes that direct ustoward, and no further than, thesenarrow conceptions.The work seeks toextend the critical faculties through adeliberate confrontation of the acceptedand familiar with itself and by offering acertain amount of elucidation and thenretracting and/or contradicting thatrationalisation with another, equallyvalid, proposition.This condensesmeaning in seemingly simple objects andrelations, so as to implicate vast culturaland symbolic understanding, a processwhereby the revealed obscures meaning,and the concealed presents opportunityfor revelation.The soap is at once areductive material, cleansing, purifying,and an effective remover of‘excessive’fat, and conversely, it ﬁlls the desk,congesting it with a material fatty initself, one which until recently consistedprimarily of animal fats, a materialregarded with some repulsion.Matthews,WaynePort ElizabethA wetter nurse! Whilst the sin still shinesMixed media75,5cm x 42cm x 49cm
65Profile:McEvoy was born in 1980. He obtainedthe BTech(FA) degree from the TshwaneUniversity of Technology cum laude. Healso obtained his MTech(FA) degree fromthe Tshwane University of Technology. Heis currently a teacher at the Pretoria Boys’High School. He has participated in severalexhibitions,including the Absa L ’AtelierExhibition in 2006.Description of artwork:Intent exists in a realm of opposites: maleversus female, hard versus soft, integra-tion, border and line versus lack thereof,bright versus pale, sharp versus blunt,pattern and decoration versus dissolutionand disorder.The intent of the artist is tomake comment on postcolonial issuessurrounding especially land and theinfrastructure of land, but perhaps too, onmany more subtle aspects of the postco-lonial condition.The tools can be seen torepresent the actual‘tools’used as partof the demarcation process of colonial-ism, the dividing of land into borderedareas.These tools have been added toor softened in an act of defacement, butalso to beautify and decorate, especiallywith pattern, to take their power as‘tools’away and give a less harmful appearance.McEvoy, KaiPretoriaIntent (Or how to execute an invasion)Mixed media(Eight-part)44cm x 34cm each
66Profile:McLachlan was born in 1974 and ob-tained a BA degree from the Universityof Natal, majoring in Art and Drama. Hehas participated in several exhibitions,including the Absa Atelier Exhibition in2001, the Absa L ’Atelier Exhibitions in2002, 2003, 2004, 2005, 2006 and 2007.He also received an Absa L ’Atelier MeritAward in 2002.Description of artwork:This work consists of two DVD players,which play side by side synchronised inrotation. Metaphorically, the work playswith ideas reminiscent of our currentload shedding crisis – in fact reﬂectsmany South Africans’vacillation betweenhope and despair … is it on or is it off?McLachlan, Alastair JamesJohannesburgThe on and off side of lifeDVD5min
67Description of artwork:Target practice implies, in our currentbroader, more violent South African con-text, that all does not bode well.We neverstop learning how to behave, mainlybecause society – and our relationshipto others – is always changing and wecontinually face learning how to behavein new and different situations.McLachlan, Alastair JamesJohannesburgTarget practicePhotographic print98cm x 122cm
68Profile:McNeill was born in 1974 and studiedBA(FA) at the University of the Free State,Bloemfontein.Description of artwork:In our quest for learning we often dis-cover that we possess the key ourselvesto unlock the mysteries of life.We standsteadfast in our mission in search oftruth. All we need to do is to remainopen-minded.McNeill, Dawid André Donald (Dawie)BloemfonteinOns staan soos ’n rotsCement11cm x 41cm x 57cm
69Profile:Mdluli was born in 1983 and studied forthe National Diploma in Fine Arts at theTechnikon of the Witwatersrand. Shealso studied for the BTech(FA) degree atthe University of Johannesburg. She hasparticipated in several exhibitions, includ-ing the Absa L ’Atelier Exhibitions in 2005,2006 and 2007. She also received severalawards.Mdluli, Same SizakeleJohannesburgBushman womanMixed media(Five-part)a) 33,5cm x 25,5cmb) 34,5cm x 26cmc) 34,5cm x 26cmd) 34,5cm x 26cmc) 34,5cm x 26cmDescription of artwork:The Bushman woman was a retirementgift given to the artist’s grandmother. Itwas then handed over to Mdluli’s motherafter her grandmother passed on. Mdlulimade a cast of it and made reproductionswith different labels and colours.As a whole the work refers to the dangersand contradictions of labelling especiallywomen. It humorously exposes society’sprejudices and misconceptions aboutthose we all perceive as being differentor the‘other’.
70Profile:Meyerov was born in 1977. She studiedBA(FA) as well as MA(FA) at the Universityof the Witwatersrand. She is currentlya part-time lecturer at the University ofJohannesburg. She has participated inseveral exhibitions, including the AbsaL ’Atelier in 2005.Description of artwork:Meyerov’s work explores the notion andtransformation, through a cumulativelabour intensive process, whereby thematerial itself physically undergoes ametamorphosis from a utilitarian objectinto an ambiguous substance suggestiveof an organic, live structure.Colony comprises of thousands of usedteabags, collected over a period of a yearfrom various sources.These have beenemptied, stained and restructured intoambiguous, hybrid like forms suggestiveof tiny living organisms, which seem tohover indeterminately in a transitional,borderline state – either in process ofbirth and renewal or alternatively on theverge of death and subsequent decay.Meyerov, Lee-AtJohannesburgColonyTeabags and Perspex97,5cm x 75cm
71Moys, Anthea Julian DineoJohannesburgGautrain series: Burial, Digging and Standing with gradersDigital inkjet prints(Triptych)a) 65cm x 83,5cmb) 65cm x 83,5cmc) 65cm x 83,5cmProfile:Moys was born in 1980 and studied BA(FA)at the University of theWitwatersrand.She also studied MA(FA) at the Universityof theWitwatersrand.
72Description of artworks:Gautrain: Ophelia and Gautrain series:Burial, Digging and Standing withgraders obliquely refer to John EverettMillais’ Ophelia (1851 -2). Moys sees theGautrain construction sites as sitesof potential and of the future. Theyare always becoming, neither herenor there but in a state of transition.The somewhat futile act of diggingwhilst there are huge powerful graderssurrounding her, demonstrates afeeling of helplessness or uselessness,which she thinks many South Africansare feeling currently. There is also anelement of fear and risk in these sites.Moys, Anthea Julian DineoJohannesburgGautrain: OpheliaVideo1min 32sec
73Profile:Murdoch-Trapani was born in 1972 andstudied for the National Higher Diplomain Fine Arts at the Technikon of theWitwatersrand. She is currently readingfor an MA(FA) at the University of theWitwatersrand. She has participated inseveral exhibitions, including the AbsaL ’Atelier Exhibitions in 2002, 2004,2005and 2006.Murdoch-Trapani, AntoinetteJohannesburgBody BotanicsMixed media(Eight-part)60,5cm x 45cm eachDescription of artwork:The polyurethane foam puzzle piecesare arranged into pop-like botanicalimages. The puzzle pieces depicthuman body parts.
74Norman, Natasha FelicityBellvilleDope show:TV stills Freedom Day, 2007Mixed media(Twelve-part)44cm x 59cm eachProfile:Norman was born in 1982 and studiedBA(FA) at the University of Cape Town.She has participated in several exhibi-tions, including the Absa L ’AtelierExhibition in 2006.Description of artwork:In Dope show, Norman captures the mo-ments immediately preceding or follow-ing violence, refusing its direct represen-tation in favour of its anticipation andaftershocks. A series of television stillsfrom shows broadcast on Freedom Day,Norman alludes to a heritage – as well asa present – wrought by violence, violenceoften covered over in media spectacleand the contemporary celebrationof nationhood (an idea echoed inWashkansky’s nationalistic symbolism).
75Description of artwork:Norman’s most overt piece, Teach yourchildren, is a sound installation of toyguns afﬁxed to a Perspex target, in whichthe viewer, triggering the sensor system,becomes the unwitting victim of violence– ﬁgured as child’s play through thesounds of children’s imitative shooting(‘Bang’;‘Boom’), which culminates inthe sound of an actual gunshot and theejection of an empty shell, followed by aneerie silence.Norman, Natasha FelicityBellvilleTeach your childrenMixed media188cm x 75,5cm x 95cm
76Profile:Norval was born in 1980 and studiedfor the National Diploma in Fine Arts atthe Durban Institute of Technology. Shealso obtained a BTech(FA) degree fromthe Durban Institute of Technology. Shehas participated in several exhibitions,including the Absa L ’Atelier Exhibitionsin 2005 and 2006, where she received aMerit Award.Description of artwork:The series tells the story of Norval’s mother.The piece traces emotions of her relation-ship with her mother as well as differentphases of her mother’s life. It also bearswitness of a mother’s love for a child andvice versa.Norval, AnetDurbanWhen mother comes to visitMixed mediaa) 15cm x 15cmb) 15cm x 15cmc) 15cm x 15cmd) 14,5cm x 20,5cme) 15cm x 15cmf) 15cm x 15cmg) 15cm x 15cmh) 15cm x 15cmi) 15cm x 15cmj) 15cm x 15cm
77Pokroy, Anthea TracyProfile:Pokroy was born in 1986 and studied BA(FA)at the University of theWitwatersrand.She has participated in several exhibi-tions, including the Absa L ’AtelierExhibition in 2007.Description of artwork:In this series of three photographs,the artist explores the ways in whicha violent act can affect the memory ofa space. Using the method of doubleexposure, it becomes apparent how theseﬂeeting moments of violence leave ghostimprints onto otherwise empty spaces.JohannesburgUntitledPhotography(Triptych)a) 59cm x 59cmb) 59cm x 59cmc) 59cm x 59cm
78Pokroy, Anthea TracyJohannesburgBeastly tales photo seriesPhotography(Triptych)a) 43cm x 59,5cmb) 41,5cm x 59cmc) 42,5cm x 60cmDescription of artwork:This work arose from the inspirationof postmodern writer Angela Carter’s‘The Bloody Chamber’. This collectionof short stories is involved with thereworking and subverting popular,universal fairytales. Carter’s attempt atrediscovering the latent meaning andintention of these original tales, writtenby Charles Perrault and, subsequently,the Brothers Grimm, was inﬂuential inthe production of Pokroy’s work. Thisseries of three photographs depict thestories of Snow White, Sleeping Beautyand Red Riding Hood. The captionsincluded are intended as direct dialoguebetween the stories told over centuries,particularly between Perrault, BrothersGrimm, Carter and the artist.
79Profile:Pretorius was born in 1983 and studiedBA(FA) at the University of the Witwa-tersrand. She is currently reading for anMA(FA) at the University of the Witwa-tersrand. She has participated in severalexhibitions, including the Absa L ’AtelierExhibition in 2006.Description of artwork:Pretorius’work is concerned with theabuse and exploitation of animals.Pretorius, ElmarieJohannesburgBird body landscapeMixed media111cm x 190cm
80Prins, Elizabeth (Liezel)DurbanServiceMixed media66,5cm x 60cmProfile:Prins was born in 1981 and studied for theBTech(FA) degree at the Durban Institute ofTechnology.She has participated in severalexhibitions,including the Absa L ’AtelierExhibitions in 2005,2006 and 2007.Description of artwork:To serve has become absent withinhuman interaction. The artist attemptsto comment on subtle idiosyncrasieswithin contemporary universal society.
81Prins, Elizabeth (Liezel)DurbanTownhouse villagersMixed media81cm x 41cm x 23cmDescription of artwork:The artist comments on subtle idiosyn-crasies within contemporary universalsociety such as perfect lawns, perfectgutter hue and perfect reception. Averitable glut of processed manufacturedand synthesised everything – served inMcDonald’s style.
82Profile:Quwe was born in 1981 and studied forthe BTech(FA) degree at the University ofJohannesburg.Description of artwork:These panels depict animal and children’sactivities within text interwoven betweenthese images.Quwe, NkosinathiJohannesburgSection of a wall I, II, IIIInk on paper(Triptych)a) 200cm x 53cm x 32cmb) 200cm x 53cm x 32cmc) 200cm x 53cm x 32cm
83Profile:Rosin was born in 1975 and studied forthe National Diploma in Fine Arts atthe Technikon, Port Elizabeth. He alsoobtained his BTech(FA) degree cumlaude. He has participated in severalexhibitions, including the Absa L ’AtelierExhibition in 2007.Description of artwork:This work is a simpliﬁed representationof an existing system on a smaller scalein order to assist future calculations andpredictions.The man in the middle is a re-ﬂection of the current state of the land ofthe artist’s birthplace, namely Zimbabwe.It speaks of dictatorship, where the man inthe middle undoubtedly beneﬁts from hisposition but by necessity he ﬁnds himselfforever surrounded by fear and violence.Rosin, Stephen JohnBellvilleWar toy 2, 3 and the man in the middleMixed media(Triptych)a) 63cm x 32cm x 27cmb) 40,5cm x 43cm x 34cmc) 38cm x 74cm x 2cm
848484848Profile:Saayman was born in 1984 and studiedBA(FA) at the University of Stellenbosch.Description of artwork:This work concerns the demise ofAfrikaner male identity. After anadvertisement which was placed in “DieBurger” on 16 February 2008, in whichhe questioned Afrikaner male identity,he received many calls. These callswere recorded and the artist’s functionbecame that of voyeur where in privacyand anonymity, the viewer can listen into these telephonic conversations.Saayman,Wynand PhilippusBellvillePlaaslynstoriesMixed media69cm x 92cm x 42cm
85Profile:Sales was born in 1973 and studiedBA(FA) (Printmaking) at the Universityof Cape Town, which she obtained withdistinction. She also studied MA(FA)at the University of Cape Town, whichshe also obtained with distinction. Shehas participated in several exhibitions,including the Absa Atelier Exhibitionin 2001 and in the Absa L ’AtelierExhibitions in 2003, 2004, 2006 and2007. She was also selected as one ofthe top ten ﬁnalists in the Absa L ’AtelierExhibition in 2003 and 2006. She alsoreceived a Merit Award in the AbsaL ’Atelier Exhibition in 2007.Description of artwork:Consisting of 159 intricately cut SAAboarding passes, Shatter is an abstractpattern, which is derived from animage of cracks racing across a sheetof tempered glass. It shows the instantat the moment in which it is struckby a blunt metal plunger. This piecemakes reference to the Helderbergplane crash of 1987 in which 159 peopledied, amongst which was her father.This was a controversial and unresolvedincident brought up at the Truth andReconciliation Commission where theblame was laid on the actions of theprevious apartheid government. Shatteris also a contemplation on the parallelswithin macrocosms. Resembling aneye as well as a mandala, it representsthe cosmos, the big bang, a vortex or atunnel of light associated with a neardeath experience.Sales, Lynda Dorothy (Lyndi)BellvilleShatterMixed media200cm x 200cm
86Profile:Schnugh was born in 1981.Description of artwork:In this work Schnugh tried to capture amoment in time in its purity, hence thesimplicity of the work. By cropping theimages in the way he has, it only givesthe viewer a small clue as to what ishappening in the work, hence creatinga slight tension of intrigue and curiosity.It is this balance of simplicity andseemingly endless possibilities thathe tries to achieve in his work.Schnugh, Lorne LouwJohannesburgUntitledAirbrush painting(Diptych)a) 83,5cm x 49,5cmb) 83,5cm x 49,5cm
87Profile:Smit was born in 1976 and studied for theNational Diploma in Photography at theTechnikon Free State, Bloemfontein.Description of artwork:Both these works are portraits of friendsof the artist. Each one of these portraitsdepicts the emotion of sadness, whichthe artist tried to capture.Smit, Frans JohannesBellvilleHead of a young man and a girl in a charcoal sweaterOil on canvas(Diptych)a) 50,5cm x 41cmb) 50,5cm x 41cm
88Profile:Spies was born in 1976 and studied forthe National Diploma in Graphic Designat the Technikon Vaal Triangle.Description of artwork:This work portrays the expectations wehave regarding relationships and mar-riage. Relationships seem idyllic witha sugar coating while the reality is notalways so sweet and idyllic.The roundplastic balls represent the soap-bubble,which can easily burst.The work is fragileand represents the delicacy and sensitiv-ity of relationships.The cushions, whichare covered with icing, represent thecushions you kneel on during the mar-riage ceremony and enhances the idea ofthe sugar-coated concept.Spies, Gerda (Neé Coetzee)PretoriaBitter-sweet transienceMixed media200cm x 200cm x 200cm
89Profile:Steyn was born in 1978 and studiedBA(Hons) at the University of CapeTown, which she obtained cum laude.Description of artwork:The image deconstructs the well-known photograph of Eugene Terre’Blanche taken during the 1980s wherehe was depicted on his horse readyto save the Afrikaner nation from theblack threat. Here Terre’Blanche isdepicted as vulnerable against thepower of his stallion, Atilla.Steyn, Antonia DignaBellvilleUntitled (Eugene Terre’Blanche)Mixed media79cm x 119cm
90Steyn, Daniël Petrus DreyerPretoriaFace itVideo5minProfile:Steyn was born in 1984 and studiedBA(FA) at the University of Pretoria.Description of artwork:The slow morphing of the image in thevideo Face it, depicts the long and tedi-ous process of the re-centring of the self.The image is being distorted at such aslow pace that it appears to be staticwith only slightly variating nuances. Atany point during the video the imageseems to be stagnant and that thedistortion is complete. The same couldbe said about identities. At any point wefeel that our identity is complete; weare in the moment who we are. Yet thedistortion is continual. At no point is theimage complete although it may appearso. Our identities are ever-changing.Weare never the same person we were amoment ago. The image appears to beunmoving, yet after time elapsed, it isunrecognisable. The to and fro morphingof the self relays the instability of theever-changing identity of the self. Doyou still recognise yourself?
91Profile:Steyn was born in 1980 and studied for aDiploma in Fashion Design at the HauteCouture School in Cape Town. She iscurrently studying for the BTech degreein Fashion/Surface Design at the CapePeninsula University of Technology.Description of artwork:This work depicts a mathematicalconstruction of a three-dimensionalsculpture namely a mask and a bodyof breasts using symmetry, flat formsand shapes glued together to becomea three-dimensional sculpture.Steyn, Maria Petronella (Petro)BellvilleSog soog suig my leegMixed media117cm x 50cm x 23cm
92Profile:Strydom was born in 1979 and studiedBA(FA) at the University of Pretoria. Healso studied MA(FA) at the Universityof Stellenbosch. He has participated inseveral exhibitions, including the AbsaL ’Atelier Exhibition in 2002.Description of artwork:Strydom’s interest lies in the complexitytheory and ideas of inside vs. outside.Decay, decomposition, growth, rhythmand life turning on itself, formed thestarting points for the marks he used.The work is also very much about mark-making, the process of drawing itself aswell as the place of labour in makingan art object.Strydom, ColijnBellvilleBreathing in autumnInk on paper107cm x 140cm
93Profile:Thavhana was born in 1978 and is asculptor taking after his father Paul. Hehas a passion for his art and also enjoyscarpentry. He has been carving since1994. He also participated in the AbsaL ’Atelier Exhibition in 2001.Description of artwork:This small carved sculpture depicts theHIV/Aids issue.This virus manages tospread although it has no wings to ﬂy,ﬁns to swim or feet to walk.Thavhana, EseraelPolokwaneHIV & AidsWood40cm x 13cm x 10,5cm
94Tshivhandakano, NdwamatoThohoyandouThe son and the darknessPhotograph43cm x 54,5cmProfile:Tshivhandakano was born in 1982 andstudied art at Matongoni.Description of artwork:This work depicts a child who grew upwithout knowing his background.The lightsymbolises the revelation of the truth.
95Profile:Van Biljon was born in 1984 and studiedBA(FA) at the University of the Free State,Bloemfontein.Description of artwork:This work portrays child abuse inwhich children are portrayed as carebears. The surroundings, in which carebears find themselves, are very oftenthe places where children are. Theexplicit naked figures indicate thosewho abuse children.Van Biljon, ElsieBloemfonteinBlommetjieComputer print on vinyl105cm x 139cm
96Profile:Van der Merwe was born in 1986 and iscurrently studying for the National Diplomain Fine Arts at the Tshwane University ofTechnology, Pretoria.Description of artwork:Van der Merwe’s work deals with theidea that if you dream big and you worktowards your goal, it is possible to makeyour dreams come true. Her grandfather’sinﬂuence helped her to realise this. Hergrandfather, who was a farmer, had adream to breed horses and made it a realitythrough perseverance and hard work. Thehorse images she used in her paintings aredirect links to this dream and message ofhope and persistence.Van der Merwe, AronéPretoriaGrandpa’s career as trainerMixed media(Thirteen-part)17,5cm x 8,5cm each
97DurbanZuluMixed media89,5cm x 72cmProfile:Van Eeden was born in 1979 and studied forthe National Diploma in Graphic Design atthe Durban University ofTechnology.Van Eeden,WesleyDescription of artworks:The concept behind the artwork is topromote a positive attitude amidstthe many apparent negative thingshappening in South Africa.With theexperiences Van Eeden encountered withcrime as well as with friends, family andwork associates and many good thingshe has experienced living here, especiallywith his teaching of Graphic Design inKwaMashu in KwaZulu-Natal, he felt thathe needed to convey a message of hope.As an artist he has a desire to use histalents to work on‘projects’ that evoke apositive message.
98DurbanWhiteMixed media89,5cm x 72cmVan Eeden,Wesley
99Van Eeden,WesleyDurbanIndianMixed media89,5cm x 72cm
100Profile:Van Staden was born in 1986 and studiedfor the National Diploma in Fine Arts atthe Tshwane University of Technology.He is currently studying for the BTech(FA)degree at the Tshwane University ofTechnology, Pretoria.Van Staden, Pieter SchalkPretoriaInspectionOil on board40cm x 60cmDescription of artwork:The marble tiles in the background depictthe notion of healing and pain by bridg-ing a ﬁne line of restraint between thepatient and the doctors. Here a critiqueof authority is noted in relation to that ofinstitutions.Thus the confusion of heal-ing and pain is noted.
101Profile:Van Tonder was born in 1985 and studiedBA(FA) at the University of the Free State,Bloemfontein.Description of artwork:The work refers to Andy Warhol’sway of silkscreening the icon, MarilynMonroe. According to the artist Monroerepresents the origin of‘lost identity’. Byrepresenting the object and icon HelloKitty in the same way, Kitty actuallybecomes more alive and developsan identity. In this day and age thedivision between human and objecthas disappeared. It is as if we glorify‘lost identity’.Van Tonder, NadiaBloemfonteinMarilyn’s museSilkscreen and oil on canvas145cm x 198,5cm
102Profile:Vivier was born in 1976 and studiedfor a BSc Computer Science degreeat Unisa. He also studied for theBTech(FA) degree at the TshwaneUniversity of Technolgy, Pretoria.Description of artwork:With an intention of throwing someinteresting shapes on the wheel, Vivierreturned to nine digitally manipulatedphotographs taken of the 1963 ﬁlmentitled ‘The pink panther’. It was takenoff a television screen. Out of each, theartist selected a small part. Since theact of throwing results in shapes thatare symmetrical, Vivier mirrored theseselected parts in order to make them‘throwable’. He found the result to besurprising and very exciting, whenhe imagined these two-dimensionalshapes in three-dimensional form.Vivier, Peter-WaynePretoriaOut of the Pink Panther # 4, 9, 5Mixed media(Triptych)a) 26cm x 19,5cm x 19,5cmb) 24cm x 19,5cm x 19,5cmc) 13cm x 30cm x 21,5cm
103Profile:Warman was born in 1985 and studied forthe National Diploma in Fine Arts at theUniversity of Johannesburg.Description of artwork:This piece is a representation of a cocoon,a metaphor for the development ofidentity.Warman, Nicole ClaireJohannesburgMetamorphosis part IIMixed media113cm x 93cm x 94cm
104Profile:Webb was born in 1975 and studied BADrama and Religion at the University ofCape Town. He also obtained a Diplomain Advertising. He has participated inseveral exhibitions, including the AbsaAtelier Exhibitions in 2000 and 2001 andin the Absa L ’Atelier Exhibitions in 2002,2004 and 2006. He also received an AbsaL ’Atelier Merit Award in 2002 and 2006.Description of artwork:This work consists of voice recordingsof the artist under hypnosis, broadcastfrom speakers ﬁtted into a black leatherchaise longue.Webb, James HamiltonBellvilleAuto hagiographyMixed media69,5cm x 182cm x 64cm
105Profile:Wessels was born in 1982 and is currentlystudying BA(VA) at Unisa.Description of artwork:This work is mostly a monochromepainting depicting the proﬁle of awoman’s face and behind it a ﬁgureresembling the form of a bull.Wessels, EliseBellvilleAmisade’s dream of king NebuchadnezzarMixed media41,5cm x 65cm
106Profile:Western was born in 1981 and studiedBA(FA) as well as MA(FA) at the Universityof theWitwatersrand.She has participatedin several exhibitions, including the AbsaL ’Atelier Exhibition in 2007.Description of artwork:Waiting is a narrative of urbanalienation as told from the perspectiveof a particular high-rise inhabitant.Western, Natalie Anne (Rat)JohannesburgWaitingVideo5min
107Whitehead, Johanna Jacoba (Hanje)JohannesburgBirdMixed media170cm x 200cm x 200cmProfile:Whitehead was born in 1985 andstudied BA(FA) at the University ofPretoria. She has participated in severalexhibitions, including the Absa L ’AtelierExhibition in 2007.Description of artwork:The sculpture Bird is a compilation offound objects, thus Duchampian Ready-mades.These found objects are presentin its own identity and now taken fromits essence in this context, to be bornagain as an individual object with its ownidentity and new context.These objects become something fromwithout itself, something that is far fromits origin and context given identity.These found objects gain life from theirnew purpose in being constructed and acompiled object, now in its new contextas an artwork and for that its functionand identity are reformed.
108Wildenboer, BarbaraBellvilleSet adriftMixed media200cm x 200cm x 200cmProfile:Wildenboer was born in 1973 and stud-ied BA(Ed) at the University of Pretoria.She also studied BA(VA) at Unisa andMA(FA) at the Michaelis School of FineArt, University of Cape Town, which sheobtained with distinction. She has par-ticipated in several exhibitions, includingthe Absa L ’Atelier Exhibitions in 2003and 2005.Description of artwork:The title of the work Set adrift is meantto be contradictory, referring both to anattempt to set or ﬁx things as well as tothe inevitability of the disappearanceof the very things that one attempts tosecure. In this work the photographicprocess is applied in an attempt tocapture that which is ﬂeeting and foreverchanging.The work consists of sevencircular photographic images of clouds,each with a star constellation pinned ontothe surface of the image as well as a massof beach stones onto which images ofdead ﬁsh collected from the beach wereprinted.The constellations used are thosenamed after birds, such as Aquila: theeagle, Corvus: the crow, Cygnus: the swanand Grus: the crane.Wildenboer usedimages of clouds as she found them tobe an effective means of expressing thesublime nature of inner experiences.
109Profile:Ziqubu was born in 1974 and obtained aPublic Relations Diploma.Description of artwork:This chair depicts the origins of allhumankind.Whether black or white,we all face trying situations because ofour ﬁrst parents, Adam and Eve, whodisobeyed the Almighty Creator whenaccepting a fruit offered by Satan.Ziqubu, Sicelo Victor SandileDurbanThe lost paradise of Adam and EveMixed media182cm x 140cm x 200cm
110Previous Absa L ’Atelier Winners1986WinnerPenny SiopisMerit Award WinnersDeborah BellAndrew BreebaartDennis PurvisSimon Stone1987WinnerClive van den BergMerit Award WinnersAndries BothaPhilippa HobbsTommy MotswaiKarel Nel1988WinnerDiane VictorMerit Award WinnersKay CowleyGuy du ToitJohann LouwMargaret Vorster1989WinnerHennie StroebelMerit Award WinnersCaroline JonesWalter OltmannGiulio TambelliniJeremy Wafer1990WinnerBarend de WetMerit Award WinnersAndrew BreebaartJean BruwerGuy du ToitJudy Woodborne1991WinnerVirginia MacKennyMerit Award WinnersNicole DonaldRuth MilehamJohann van der SchijffPierre van der Westhuizen1992WinnerPaul EdmundsMerit Award WinnersWayne BarkerMarc EdwardsDominic ThorburnMinette Vári1993WinnerDominic ThorburnMerit Award WinnersSiemon AllenDiek GroblerAdam LetchRussel Scott1994WinnerJonathan ComerfordMerit Award WinnersAndrew PutterKevin RobertsHenk SerfonteinAlastair Whitton1995WinnerKevin RobertsMerit Award WinnersMoses CetywayoGordon FroudDiek GroblerPeet Pienaar1996WinnerIsaac KhanyileMerit Award WinnersHanneke BenadéWim BothaSamkelo BunuBerco Wilsenach1997WinnerIlse PahlMerit Award WinnersLucas BamboCecile HeystekKim LiebermanRichardt Strydom(Known as Volkskas Bank Atelier Competition up to 1998 and from 1999 to 2001 known as Absa Atelier Competition)
1111998WinnerKarl GietlMerit Award WinnersWayne BarkerHanneke BenadéJean BrundritPeter Rippon1999WinnerRyan ArensonMerit Award WinnersBrad HammondFritha LangermanAlbert RedelinghuysVanessa van Wyk2000WinnerBrad HammondMerit Award WinnersJoni BrennerNatasha ChristopherColbert MashileNigel Mullins2001WinnerStefanus RademeyerMerit Award WinnersMarco CianfanelliDaniel HirschmannBrent MeistreMerryn Singer2002WinnerMarco CianfanelliMerit Award WinnersNatasha ChristopherAlastair McLachlanBenninghoff PurenJames Webb2003WinnerSanell AggenbachMerit Award WinnersRetha BornmannNatasha ChristopherPatricia DriscollBerco Wilsenach2004WinnerConrad BotesMerit Award WinnersStephen HobbsPieter HugoLize MullerRobert RichGerard Sekoto WinnerBelinda Zangewa2005WinnerBerco WilsenachMerit Award WinnersKatherine BullLawrence LemaoanaPatrice MabasaMikhael SubotzkyGerard Sekoto WinnerLawrence Lemaoana2006WinnerRuth SacksMerit Award WinnersNathani LüneburgRiason NaidooAnet NorvalJames WebbGerard Sekoto WinnerNomusa Makhubu2007WinnerPierre FouchéMerit Award WinnersNina BarnettWayne MatthewsLyndi SalesJaco SpiesGerard Sekoto WinnerNina Barnett