This document summarizes an art competition sponsored by Absa bank in South Africa. It is the oldest national art competition in the Southern Hemisphere and provides a platform for young emerging artists. Absa supports the artists through purchasing works and providing opportunities like exhibitions. The competition aims to develop human potential and support South African arts and culture. It congratulates the winners and encourages all entrants to continue developing their skills.

2. 2

3. 1
Absa is a world-renowned patron of the arts and the proud sponsor of the 24th L’Atelier
art competition. It is the oldest single national sponsored art competition in the Southern
Hemisphere and remains the most prestigious award on any South African artist’s CV.
This competition serves as a platform for young emerging artists to make their mark in the
South African arena. Not only does Absa create a platform to showcase their work through
this competition, but we have also been increasingly active in identifying, nurturing, pro-
moting and sponsoring these artists through our gallery.
Absa regularly purchases art from exhibitions hosted in the Absa Gallery, as well as from
the L’Atelier exhibition.The purpose of buying new art is to develop human potential, sup-
port South African arts and culture and also provide our business with a viable investment
opportunity. Absa’s art collection is therefore a tangible and visual reflection of what we’re
about as a South African organisation.
We would like to take this opportunity to express our gratitude to our co-sponsors for their
continued support. Without SANAVA, the French Embassy, the French Institute and Alliance
Françiase, this initiative would not be possible.
I would also like to congratulate our winners. Make the most of this wonderful opportunity
to further your careers.We will be watching with interest as many of you go on to become
internationally recognised artists.
To all the entrants, we wish you the very best and hope to see you again next year.
Maria Ramos
Absa Group Chief Executive

4. 2
National selection panel
Gwen Miller/Melissa Mboweni
Coordinators of National Selection
Andrew Da Conceicao
Cape Town
Amos Letsoalo
Polokwane
Karel Nel
Johannesburg
Ingrid Stevens
Pretoria
Air ticket to Paris, France sponsored by Absa
This catalogue has been compiled by Cecile Loedolff, Manager: Art,
Absa Group Marketing and Corporate Affairs.
Published by Absa, Member of the Barclays Group.
2009 Absa L’Atelier Awards Catalogue
ISBN 978-0-620-44293-0
The Absa L’Atelier Art Competition is presented annually by Absa in conjunction
with SANAVA (South African National Association for the Visual Arts). It is a compe-
tition for young artists in the age group 21 to 35 years.Works of art were selected in
Bellville, Bloemfontein, Durban, Johannesburg, East London, Port Elizabeth,
Polokwane, Pretoria and Thohoyandou by a local panel of selectors guided by
Melissa Mboweni and Gwen Miller on behalf of the National President of SANAVA.
The selected works of art have been sent to Johannesburg for final adjudication.
The Absa L’Atelier Award
2

5. 3
Retrospectively, the art of any society has been viewed as a significant measure of the diversity of its values.The
Absa L’Atelier Award provides a platform for engagement with young artists whose work reflects the attitudes
and concerns throughout contemporary South Africa. In this short introduction, I would like to draw attention to
two important aspects of the structure of the L’Atelier Award, namely the process of judging and the post-selec-
tion analyses of the artworks.
The judging process has been refined over many years. Several panels of adjudicators function at regional and
national level to encourage a broad, inclusive vision.They are presented with work that has been selected by
annually appointed critics, educators and artists and a judging aesthetic is negotiated.The judges’ intention
is to access the possible meanings and aims of the works, while at the same time considering the relationship
between the artists’ concepts and technical choices and their craftsmanship. Rounds of systematic selection are
built into the judging process to determine professionalism and representation.The judges must substantiate
their choices in a final round of rigorous debate.This acceptance of their own accountability demonstrates their
commitment and dedication to our cutting-edge young artists, whose work often falls outside the constraints of
the market.
Over the years, the Absa L’Atelier Award judges have used a vital gauge; that of relevance to our time and coun-
try. Yet, attempts to define the terms ‘contemporary’ and ‘South African’ often raise significant issues around
both visual and political aesthetics. In this exhibition, the post-judging process analysis has identified a the-
matic disquiet; the realisation of a sombre tone and sense of discomfort inherent in many works.This parallels
international trends reflecting societal anxiety and urban tension and the individual’s sense of insignificance or
impotence.
The artists’ voices of dissent are consistent yet reveal personal perspectives. Visual language is manipulated to
convey the spirit of place with either energy or subtlety.The artists comment critically on many contemporary
systems and structures, including bureaucracy and boardroom ethics, ecological irresponsibility and the socio-
logical implications of race classification and stereotyping - although a certain irony sometimes emerges when
dealing with issues around the role of race and diminishing cultures.There is fear and lament for the prevailing
strain of violence, death and poverty, shown by the choice of metaphorical images, such as figures from mythol-
ogy.The shape-shifting impact of technology on the way we experience life is evident in their formal use of
grid structures and some art processes that allow mechanical ‘invasion’ of the artists’ individual styles.These
thematic and technical choices show the artists’ complete awareness of a society under strain at multiple levels.
It is essential to emphasise the strength of the works on exhibition: they are not mere illustrations of these con-
cepts, but instead, as open-ended evocations of subliminal tension, have become barometers of conscience.
Gwen Miller
Coordinator

6. 44
The South African National Association for the Visual Arts (SANAVA) pays tribute to Absa
for its consistent support over the past twenty-four years of organising the annual Absa
L ’Atelier Competition.The event, hosted in collaboration with SANAVA, has become a
major item on the agenda of young visual artists who are serious about developing their
skills and in pursuing their interest or a career in the field of the visual arts.We thank
Absa’s management and staff dedicated to the promotion of the visual arts and recognise
their very important role in furthering the spiritual wealth of the South African nation.
Congratulations to those artists who distinguished themselves by having been selected
as most meritorious! To those individuals who were not successful this time, thank you
for your participation. Please persevere, for eventually your efforts are bound to be richly
rewarded. Many thanks to the judges, local panels and staff at the various collection
points who sacrificed time in assisting with the adjudication process! Let’s continue to
support Absa by echoing its slogan‘today, tomorrow, together, also in the visual arts!’
Many thanks
Anton Loubser
SANAVA National President

7. 5
Gerard Sekoto (1913 – 1993)
Sekoto was born at Botshabelo near Middelburg in the former
Transvaal on 9 December 1913. His early paintings depicted scenes
from 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 Parisian
he always yearned for his South African roots and identity, which he
depicted with much nostalgia in many of his works.
In Paris and with the support of the loving French public, doors
eventually opened for Sekoto to explore his own creativity. With this
award we honour Gerard Sekoto. The French Embassy, the French
Institute and the Alliance Française, felt it appropriate to create such
an award to support the most promising artist with an income of
less than R60 000 per annum. This award will hopefully open yet
another door for a young South African artist in the city of love and
art, namely Paris.

8. 6
Rosin, Stephen John Winner
Bellville
The devil makes his Christmas pie from
politicians’ tongues and bankers’fingers (2008)
Mixed media
58cm x 80cm

9. 7
Eksteen, Frederik Jacobus (Frikkie)
Pretoria
The ambassadors
Mixed media
200cm x 199,5cm
MeritAward

10. 8
Johannesburg
Wailing wall
Mixed media
(Diptych)
a) 104,5cm x 64,5cm
b) 104,5cm x 64,5cm
MeritAwardErasmus, Marthinus Stephanus (Stephan)

11. 9
Lotz, Hannah-Ada
Pretoria
No matter if you black or pitch black:
I’m free to be black as I am
I am super black
Photography
(Diptych)
a) 108,5cm x 76cm
b) 108,5cm x 76cm
MeritAward

12. 10
Durban
The scapegoat
Mixed media
53cm x 31cm x 24cm
Shabalala, Mbhekiseni VictorMeritAward
an
capegoat
d media
x 31cm x 24cm

13. 11
East London
Tribute to Noria Mabasa
Linocut
103cm x 134cm
GerardSekotoAward
Lindi, Nyaniso

14. 12
09 Top Ten Finalists
1MaaikeBakker
2PeterCampbell
3FionaCouldridge
6NyanisoLindi
7Hannah-AdaLotz

15. 13
4FrikkieEksteen
5StephanErasmus
10LucasThobejane
8StephenRosin
9VictorShabalala

16. 14
Bahmann, Dirk
Johannesburg
Life trace 10 Johannesburg
Mixed media
61,5cm x 83cm61,5cm x 83cm
Profile:
Bahmann was born in 1974.He obtained
a BAS degree at the University of the
Witwatersrand as well as a BArch at the
University of theWitwatersrand.He has
participated in several exhibitions and
received several awards.He participated in
the 2006 L’Atelier Exhibition.
Description of artwork:
Life trace 10 Johannesburg is an ongoing
orbit of work that examines an inner
experience of the urban landscape of
Johannesburg. It plays with the duality of
the inner and outer worlds, between the
self and the collective and the particular
and the universal.

17. 15
Bakker, Maaike
Pretoria
Air suburb #219
Multimedia installation
27 sec
Profile:
Bakker was born in 1986 and is currently
studying BA(VA) at Unisa.
Description of artwork:
This artwork investigates the old Roman
law principle ‘cuius est solum, eius est
usque ad caelum et ad inferos’, which when
roughly translated states,‘To those who
belong to the earth... (shall belong to the
sky up to the heavens)’, and it applies to our
postmodern context.
Air suburb #219 consists of numerous layers
of suspended laser cut cardboard grid struc-
tures or air boxes, serving as a future air
blueprint, which designates the areas in the
sky that have been modified into architec-
tural airspace.

18. 16
Bezuidenhout,Vincent
Bellville
Tower block diptych
Photography
115,5cm x 184cm
Profile:
Bezuidenhout was born in 1978. He studied for the
National Diploma in Photography as well as for the
BTech degree in Photography at the Central Univer-
sity of Technology, Free State, Bloemfontein.
Description of artwork:
The photograph entitled Tower block diptych relates
to the concept of heterotopia elaborated on by
philosopher Michael Foucault to describe places and
spaces that function in non-hegemonic conditions.
These are spaces of otherness, which are neither
here nor there, that are simultaneously physical
and mental such as the space of a phone call or the
moment when you see yourself in the mirror. The
term heterotopia describes spaces that have layers
of meaning or relationships to other places than
immediately meets the eye.

19. 17
Profile:
Botes was born in Bellville in 1975.
He studied BA(FA) Applied Graphics
at the University of Stellenbosch. He
has participated in several exhibi-
tions, including the Absa L’Atelier
Exhibition in 2007.
Description of artwork:
This installation focuses on the hu-
man being as parasite by raising
questions regarding how much we
consume. At first glance the viewer is
presented by a rigid portrait made of
smaller pieces – the self depicted as
robotic. Each individual piece carries
a fact about the consumption and
waste production of a single human
being over their average lifetime of 77
years and 9 months. The installation
delivers information through nu-
merical figures and raises questions
or evokes response from the viewer
regarding their lifestyle and how
mechanised and unthinking we have
become in our consumption.
Botes, Sybrandt Lourens
Bellville
Parasite
Mixed media
200cm x 200cm

20. 18
Profile:
Bull was born in 1974 and studied BA(FA) as
well as MA(FA), which she obtained with
distinction from the University of Cape
Town. She is currently a lecturer in the
Visual Art Department of the University of
Stellenbosch. She has participated in several
exhibitions, including the Absa Atelier ex-
hibitions in 2000 and 2001 as well as in the
Absa L’Atelier Exhibition in 2005. She was
selected as a Merit Award Winner in 2005.
Description of artwork:
Data capture: a muse consists of a series of
live portrait drawing performances playing
on the tradition of life drawing and the
artist’s search for a muse.
Bull, Katherine Gay
Bellville
Data capture: a muse
Mixed media
2 min

21. 19
Profile:
Campbell was born in 1982 and studied
for the National Diploma in Fine Arts
at the Nelson Mandela Metropolitan
University, Port Elizabeth. He is currently
studying for his BTech(FA) degree at the
same university.
Description of artwork:
Ancient Celtic custom required that the
sin of the recently deceased be re-
moved so that the soul would be free to
transcend, unhindered, into the heav-
enly realm. For this to happen, the aid
of a Sin-eater was required. By means
of specific ritual the Sin-eater would
consume the transgressions of the dead.
Tom Peep raises the question: have we
become our own sin-eaters through
the relaxing ritual of mass media? With
every floppy newspaper, every horrid
daily seven o’clock summation, films
and literature reminding us of the acidic
corners of the mind, we consume our
collective dark underbelly. Are we a fly-
on-the-wall-culture mistaking disaster
for entertainment, always watching but
never helping, always judging but never
loving? Have we come to expect the
worst of those around us and instead of
reconciling, have built higher walls? Are
we the products of cultural decay, of a
failing ritual incomplete?
Campbell, Peter Mikael
Port Elizabeth
Tom Peep
Mixed media
200cm x 200cm

22. 20
Port Elizabeth
Old sins cast long shadows (from:The dark mirror series)
Mixed media
72cm x 57cm
Campbell, Peter Mikael
Description of artwork:
Cement is the physical backbone of
urbanisation, while exerting great
pressure on the environment through
the process of its manufacture. It is
cold, hard and has immense strength
but is rigid, reflective of the cold logic
of The Age of Reason. Like the cement,
the frame also has a heritage that
is indicative of Western civilisation,
expressing hierarchy, wealth and
classicism and the valorisation of
that, which lies within its frontiers.
The use of gold leaf may express to a
certain extent the health of our times,
the flaking veneer of the pinnacle of
civilisation.

23. 21
Profile:
Chauke was born in 1979 and completed
grade 10 at the Malenga High School.
Description of artwork:
It is election time and all the leaders
are talking. Here the artist depicts
Jacob Zuma, Mr Lekota as well as two
former Presidents namely Mr Mandela
and Mr De Klerk.
Polokwane
The elections manifesto
Wood and paint
18cm x 62cm x 31cm
Chauke, Phula Richard
Profile:Profile:Profile

24. 22
East London
An unstable identity
Mixed media installation
186cm x 200cm x 200cm
Chorn, Genevieve Sarah
Profile:
Chorn was born in 1987 and is currently
studying BA(FA) at Rhodes University,
Grahamstown.
Description of artwork:
This artwork consists of two sculptures; a
chair and a hat stand, which have human
feet, reminiscent of the ball and claw
furniture of the 1940s and 1950s.

25. 23
Profile:
Coetzee was born in 1983 and studied
for the National Diploma in Photogra-
phy at the Nelson Mandela Metropoli-
tan University, Port Elizabeth.
Port Elizabeth
Empty Space 2
Photography
60,5cm x 84,5cm
Coetzee, Gerhardt
Description of artworks:
It was the profound emptiness of the
spaces shown in these photographs
that first attracted Coetzee. While the
atmosphere in most of them can be de-
scribed as unsettling, there is a sense of
familiarity in these voids where life used
to be lived so abundantly. In the ruins of
Central Port Elizabeth, the contrast to
the madness of being and how human
society destroys and sucks the life out
of what was once beautiful, seemed to
jump at the artist. The absent human
figure, suggested by evidence left be-
hind, shadowed him from site to site. To
him the spaces became spaces of possi-
bility where he could delve into his own
experiences, imagination and memories.
Port Elizabeth
Empty Space 1
Photography
60,5cm x 84,5cm

26. 24
Johannesburg
Haunting
Oil on board
(Twenty-four-part)
33cm x 24cm each
Couldridge, Fiona Sharon Kemsley
Profile:
Couldridge was born in 1975. She studied BA(FA)
as well as MA(FA) at the University of the Witwa-
tersrand. She has participated in several exhibitions,
including the Absa Atelier Exhibitions in 2000 and
2001 as well as in the Absa L’Atelier Exhibitions in
2004 and 2005.
Description of artwork:
Couldridge’s artworks exist between life and death;
they are apparitions – figures which may at any point
awaken.The main themes concern psychological
identity of ideas and of often sinister, childhood play.
The starkness of the black and white colouring
suggest medical x-rays, print media, photographic
negatives as well as various binary oppositions:
dark and light, negative and positive, death and life,
absence and presence. Pressing the dolls on cotton
sheets create imprints, suggestive of both presence
and absence.

27. 25
Durban
Kids for year 2000
Acrylic on canvas
45,5cm x 60,5cm
Danca,Welcome S’phiwe
Profile:
Danca was born in 1978 and obtained a
National Diploma in Graphic Design at the
Durban Institute of Technology. He has
participated in several exhibitions, includ-
ing the Absa L’Atelier Exhibition in 2008.
Description of artwork:
The children who were born after 1994 are
spoilt because they received cell phones
and certain rights. If you as a parent
reprimand them they argue with you and
threaten that they will call Childline.

28. 26
Pretoria
Xenomorphic disposition
Bronze
32,5cm x 34,5cm x 14,5cm
Profile:
Delport was born in 1978. He studied
for the National Diploma in Fine Arts at
the Tshwane University of Technology,
Pretoria. He has participated in several
exhibitions, including the Absa L’Atelier
Exhibition in 2002.
Description of artwork:
This piece is about human relations
and interaction, different mindsets and
deliberations. It is about how individu-
als can have complete diverse ideas
and emotional reactions. On the one
side you have soft, rounded shapes that
seem nimble and benevolent. On the
opposing side there is the sharp angu-
lar shape that seems almost aggres-
sive, awkward and unyielding but also
defensive. The shape of the heads along
with the body language makes con-
frontation between the circle and the
square, the liberal and the conservative,
clear. It is basically action and reaction.
Delport, Steven
ng the Absa LAtelier
f artwork:
human relations
fferent mindsets and
about how individu-
ete diverse ideas
ctions. On the one
rounded shapes that
benevolent. On the
e is the sharp angu-
ms almost aggres-
unyielding but also
pe of the heads along
guage makes con-
n the circle and the
and the conservative,
action and reaction.

29. 27
Bloemfontein
Tax - C
Mixed media
98cm x 149,5cm x 64,5cm
De Waal, Helena
Profile:
De Waal was born in 1979 and obtained
the National Diploma in Fine Arts at the
Technikon Free State, Bloemfontein in
2003. She obtained a postgraduate certif-
icate in Education in 2008 at the Central
University of Technology, Bloemfontein.
Description of artwork:
This artwork portrays four issues that
all citizens are confronted with, namely
water, electricity, food and money. A lamp,
meat grinder, a tap and money slot are
all reminders of these issues.The rear
mirrors are there to remind you of things
that can happen.The amount of money
you put into the slot determines how far
the Tax-C can go.
izens are confronted with, namelyll cit
wate
meat
ll rem
mirro
hat c
ou p
he Ta
ti
r,
t
m
o
c
pu
Ta
izens are confronted with, namely
r, electricity, food and money. A lamp,
grinder, a tap and money slot are
minders of these issues.The rear
rs are there to remind you of things
an happen.The amount of money
ut into the slot determines how far
ax-C can go.C

30. 28
Du Preez, Suzanne
Johannesburg
Series #4: Parktown I
Mixed media
200cm x 107cm
Profile:
Du Preez was born in Worcester in 1975
and studied BA(FA) at the Michaelis School
of Fine Art, University of Cape Town. She
also studied for the MTech degree in Fine
Arts at the University of Johannesburg.
She has participated in several exhibitions,
including the Absa Atelier Exhibition
in 2001.
Description of artwork:
This work is a representation of a section
of a wall from the Johannesburg suburb,
Parktown.The artwork is an interpreta-
tion of the walls outside our houses that
we erect as protection against violation.
Recreated here from soft materials, such as
foam in which the wall loses its function
to protect and becomes an exploration of
the artist’s positioning and interpretation
of her lived context, Johannesburg.This is
achieved through the use of and manipu-
lation of diverse materials, techniques and
references related to the artist herself in
an attempt to explore her own identity.

31. 29
Description of artwork:
This representation of a suburban
boundary wall in Parktown West,
Johannesburg, was created by using
needlepoint techniques to outline the
boundary wall, juxtaposed against an
idyllic/utopian landscape. This juxta-
positioning forms a grafting of time
and space i.e. here and there, present
and past, reality and imagination.
Du Preez, Suzanne
Johannesburg
Series #3: Parktown West I
Mixed media
200cm x 84,5cm

32. 30
Description of artwork:
This artwork forms part of a series, which was done while
Du Preez attended a residency in Switzerland.This site
- specific installation investigates social, cultural and per-
sonal boundaries in a European context as apposed to her
living context, Johannesburg, South Africa. She focused on
boundary walls as it is so distinct in Johannesburg.
Du Preez, Suzanne
Johannesburg
Boundaries I, Sierre, Switzerland
Digital print
82,5cm x 101,5cm

33. 31
Profile:
Duncan was born in 1981 and studied BA(FA) at the
Michaelis School of Fine Art, University of Cape Town.
She has participated in the Absa L’Atelier Exhibition
in 2008 where she was chosen as one of the top ten
finalists.
Description of artwork:
Illness prevented her mother from having long, thick
hair for most of her adult life. Only now in menopause
with the help of hormone replacement therapy her
hair is thick and long.Through this work she attempts
to question constructs concerning female beauty. She
used her mother’s hair to create an object referencing
a fan that she gave her.The work is also intended as a
portrait of her mother.
Duncan, Suzanne Elizabeth Beavan
Bellville
Fan: For hot flushes
Human hair
62cm x 86cm

34. 32
Profile:
East was born in 1980 and is currently
studying BA(FA) at the Michaelis School of
Fine Art, University of Cape Town.
Description of artwork:
This work deals with themes of com-
plimentary form, structure replication,
disease, duality containment, loss, play,
material antagonisms, strength and
vulnerability.
East, Anthony David
Bellville
Placeto (Still life; four years and three months)
Mixed media
200cm x 200cm

35. 33
Eksteen, Frederik Jacobus (Frikkie)
Pretoria
The ambassadors
Mixed media
200cm x 199,5cm
Profile:
Eksteen was born in 1973 and studied
BA(FA) as well as MA(FA) at the University
of Pretoria. He has participated in several
exhibitions, including the Absa Atelier
Exhibition in 2001 where he was selected
as one of the top ten finalists. He also
participated in the Absa L’Atelier Exhibi-
tion in 2003.
Description of artwork:
The ambassadors (2009) is part of an
ongoing project based on the University
of Pretoria’s portrait collection of former
principals.This painting forms part of a
body of work, which questions this series’
status as both timeline and a knowledge
archive. If each personage in the original
sequence is intended as a marker in an
ongoing narrative, can it stand up to
what it claims to represent? What exactly
does it signify and how? What happened
in the spaces between these portraits?
Are these gaps completely faceless? Can
a few painted faces be a valid record of
the complex events and decisions that
shape nearly a century’s worth of history?
The artwork was also inspired by and
takes its title from Hans Holbein’s paint-
ing The ambassadors from 1533. As in
Holbein’s image, he used anamorphic
perspective to create eleven unexpected
viewpoints.The painting demands of the
viewer to take part in an unconventional
viewing contract, where things only come
into perspective by adopting several
unfamiliar vantage points.

36. 34
Erasmus, Marthinus Stephanus (Stephan)
Johannesburg
Untitled 104
Mixed media
21cm x 20,8cm x 1,7cm
Profile:
Erasmus was born in 1976. He studied
for the National Diploma in Fine Arts at
theWitwatersrand Technikon as well as
for the BTech (FA) degree at theWitwa-
tersrand Technikon. He also completed
a Masters degree in Fine Arts at the
University of theWitwatersrand. He has
participated in several exhibitions,includ-
ing the Absa Atelier Exhibition in 2000
as well as the Absa L’Atelier Exhibitions in
2004,2006 and 2008. He was selected as
one of the top ten finalists in 2008.
Description of artwork:
In this particular book the artist sampled
texts from five selected love song lyrics
and then randomly placed these letters
on each section of the book.These letters
were connected with‘paths’between the
letters to spell out the selected text.The
text was then encrypted by placing mis-
leading pathways between the letters.
The use of the book format aims to gener-
ate a more tactile involvement with the
artwork by the reader,not only through
the physical handling of the artwork as
one would with a normal book,but also
through the decryption/discovery of the
selected texts and the rezones for the
artist’s selection of these texts.

37. 35
Erasmus, Marthinus Stephanus (Stephan)
Johannesburg
Wailing wall
Mixed media
(Diptych)
a) 104,5cm x 64,5cm
b) 104,5cm x 64,5cm
Description of artwork:
The work entitled Wailing wall
calls on a historically important
architectural construction known
as the Western Wall, an impor-
tant religious site of all three
the Abriamic faiths, Christianity,
Judaism and Islam. The wall is
historically known to be the last
remaining construction of the
Second Temple in Jerusalem, an
important place for prayer and
in Islam the wall has a strong as-
sociation with the Isra and Mi’raj
story. Some sources identify the
Western Wall as the place where
Muhammad tethered his winged
steed, Buraq.
However, this artwork focuses on
the tradition of placing pieces
of paper containing Talismans
and prayers into the cracks of the
Wall. By using this tradition to re-
construct a place where wishes,
hopes and dreams are contained
in selected lyrics from love songs,
these pieces of paper are used to
construct a wall where the maker
can give in to the longing and
sorrow that establish this memo-
rial place of remembrance.

38. 36
Evans, Judith Marian
Johannesburg
There is always a point
Mixed media
55,5cm x 68cm
Profile:
Evans was born in 1986 and is currently studying
BA(FA) at the University of the Witwatersrand.
Description of artwork:
In 1917 Marcel Duchamp rotated a porcelain urinal
by 90 degrees, signed it and placed it in a gallery
– almost instantly transforming the manner in which
the world conceived of what art truly is. Almost a
century later this ground-breaking work continues to
stand as a beacon in conceptual art making.
Along a similar line the object which she has chosen
to frame is an ordinary clutch pencil, which has been
mass produced.What makes it unique, however, is
the fact that the artist Jeremy Wafer coincidently
chose to sign another artist’s submission to the
competition.

39. 37
Ferreira, Rikus
Bellville
Varkkop formasie
Mixed media
45cm x 128cm x 69,5cm
Profile:
Ferreira was born in 1976 and studied
BA(FA) as well as MA(FA) at the University
of Stellenbosch. He has participated in
several exhibitions, including the Volkskas
Bank Atelier Exhibition in 1999 and the
Absa L’Atelier Exhibitions in 2003, 2004
and 2007. He was selected as a top ten
finalist in 2003 and 2007.
Description of artwork:
Pigs are likened to the human race on
various levels and are often used to com-
ment on the human condition.Winston
Churchill once said:“Dogs look up to us.
Cats look down on us. Pigs treat us like
equals.”They are a frequent source of
reference in many aspects of culture at
large, with many idiomatic uses of the
word pig. Origami pigs, folded by using
pages from an old book on British impe-
rialism and Queen Victoria, were placed
inside a coffee table and specifically in
this case, one in the ball and claw design.
This type of coffee table is a well-known
item in the Afrikaans family and a very
familiar furniture piece in most western
households in South Africa.
The folded origami pigs were placed in an
ox head formation.This well-known and
successful military strategy was used by
Shaka Zulu and his Impis,where faster-run-
ning fighters (the horns) would encircle the
enemy,while soldiers with short spears (the
head) would face the enemy head on.
This work tries to deal with the idea of
greed and power in a South African context.
It tries to focus the attention on the irony
of imperialism and therefore also the thirst
for power/control over people and the ef-
fect on the different groups involved.

40. 38
Fossey, Natalie
Durban
We are addressing the problem
Silkscreen
57,5cm x 67cm
Profile:
Fossey was born in 1985 and studied BA(FA)
at the University of KwaZulu-Natal. She is
currently reading for an MA(FA) at the same
university.
Description of artwork:
This work was the first of a series of prints
working in and around notions of feminin-
ity, sex, beauty and representation thereof.
The artist worked from her own photo-
graphs to develop a piece that functions
as an open-ended question. The image is
made up of only one subject.

41. 39
Fossey, Natalie
Durban
We will return to popular viewing shortly
Linocut
38cm x 32cm
Description of artwork:
The artist uses her own photographs and
the linocut was the last in the series in
which she worked with representations
of femininity, beauty and sex. She finds
the voyeuristic very interesting. By using
a figure where it is not clear whether she
is aware that she is being viewed, gave
the artist an opportunity to consider her
voyeuristic intentions as an artist work-
ing with the partially nude female form.
38cm x 32cm

42. 40
Fuller, St John James Zair
Pretoria
Wabenza
Pinhole photography
105cm x 153cm
Profile:
Fuller was born in 1974 and studied BA(FA).
He has participated in several exhibitions,
including the Absa L’Atelier Exhibitions in
2007 and 2008.
Description of artwork:
Wabenza is a photograph of a Mercedes
Benz taken with a multi aperture camera.
The car is an icon of a dream. A symbol
of status and goals achieved. A sure sign
that you have managed to place yourself
comfortably within society and well
beyond the reaches of poverty. While
the image clearly reveals recognisable
features of a car, these do not form a
whole. Instead, much as we repeat to
ourselves those parts of a dream that we
do remember in order to try and recall
the whole, the fragments are represented
over and over again without ever
completing the car.

43. 41
Gillougley, Cara Val
Bellville
From withdrawal and emergence
Mixed media
(Triptych)
a) 47,5cm x 36,5cm
b) 47,5cm x 36,5cm
c) 47,5cm x 36,5cm
Profile:
Gillougley was born in 1983 and studied
for a Diploma in Photography at the Ruth
Prowse School of Art in Cape Town.
Description of artwork:
The surreal photographic body of
work deals with themes of underlying
emotional and psychological torment
and obsession. The images are both
metaphor and catharsis. The images are
derived from studio shoots and substan-
tive digital post production. The scale is
intimate to force a degree of voyeurism
from the viewer.

44. 42
Greyvenstein, Lisa
Pretoria
Pretty in pink
Mixed media
(Triptych)
a) 23,5cm x 44,5cm x 45cm
b) 23,5cm x 44,5cm x 45cm
c) 23,5cm x 44,5cm x 45cm
Profile:
Greyvenstein was born in 1983 and is cur-
rently studying BA(FA) at the University of
Pretoria.
Description of artwork:
Pretty pink is a comment on gender rela-
tions and cultural expectations on men and
women.The softness of the fabric juxta-
poses the sharp dangerous qualities of the
gloss alluding to hidden friction and ten-
sion between genders. Dominant discourse
dooms women to artifice causing inequali-
ties and conflicts.

45. 43
Description of artwork:
This series of digital photographs are so
overtly constructed that one begins to
question what is real and what is merely
illusion, alluding to the ideological con-
structs in our everyday society by which
we live our lives.
Greyvenstein, Lisa
Pretoria
Corrupted illusion I
Digital print
37,5cm x 186,5cm

46. 44
Grobler, Liza
Bellville
A work of art (also) has a life of its own
(self-portrait)
Mixed media
124cm x 73cm x 92cm
Profile:
Grobler was born in 1974. She studied
BA(FA) as well as MA(FA), which she ob-
tained with distinction from the Univer-
sity of Stellenbosch. She has participated
in several exhibitions, including the Absa
L’Atelier Exhibitions in 2005, 2006 and
2008.
Description of artwork:
This work is constructed out of various
objects representing a self-portrait of the
artist in a pregnant state.
b-
er-
ted
bsa
s
the

47. 45
Gurney, Kim Janette
Johannesburg
A bee, dreaming
Mixed media
50,5cm x 144cm x 12cm
Profile:
Gurney was born in 1974 and studied BA(FA) at the
Michaelis School of Fine Art, University of Cape Town.
Description of artwork:
This work engages with climate change – specifi-
cally the habitat loss for bees as a result of human
development, which play a vital pollinator role in food
production. The square format of each window and
composite panels represents the mosaic vision of
bees. The floral spectres are, however, stitched in red
– a colour that bees cannot perceive. The contorted
honeycomb panel, lit from behind with simulated
daylight, represents disrupted natural order.

48. 46
Gutter, Pauline Gertruida
Bloemfontein
Memorial of memories
Oil on wood
170cm x 122cm
Profile:
Gutter was born in 1980 and studied
BA(FA) at the University of the Free State,
Bloemfontein. She has participated in
several exhibitions, including the Absa
L’Atelier Exhibitions in 2002, 2003, 2004,
2005, 2006 and 2007.
Description of artwork:
This work depicts Alfred George
Jenkinson.

49. 47
Hlatshwayo, Similo Wiseman
Johannesburg
Night cityscape 1, 2 and 3
Mixed media
(Triptych)
a) 50cm x 50cm
b) 29cm x 70cm
c) 28,5cm x 70,5cm
Profile:
Hlatshwayo was born in 1984 and ob-
tained a Diploma in Visual Arts.
Description of artwork:
With these works the artist tried to
move away from depicting nightscapes
in the traditional manner by drawing
from circuit board images and electronic
devices such as music studio recording
equipment. He also minimalised the
actual buildings that are only suggested
by lighting. He attempted to create a
cityscape that leaves the viewer to be
drawn into the fast-paced lighting visions
of the city.
2
,5
a)
b)b)b)
c) 28,

50. 48
Hlungwani, Staurose Phillemon
Johannesburg
Kuhavankariwaku wisa I
Mixed media
115,5cm x 147,5cm
Profile:
Hlungwani was born in Giyani in 1975. He
studied Fine Arts at the Johannesburg Art
Foundation. He also completed a Teach-
ers Training Course at the Wits School of
Art and then he studied Printmaking at
the Artist Proof Studio in Johannesburg.

51. 49
Johannesburg
Kuhavankariwaku wisa II
Mixed media
115,5cm x 147,5cm
Hlungwani, Staurose Phillemon
Description of artworks:
There is no time to rest after retirement.
Although these men still need to work as
subsistence farmers they enjoy their new
lifestyle.

52. 50
Hugo, Helena
Pretoria
End of my shift, end of my shift, end of my shift
Pastel on board
59cm x 127,5cm
Profile:
Hugo was born in 1975 and studied BA(FA)
at the University of Pretoria. She has
participated in several exhibitions, including
the Absa L’Atelier Exhibition in 2006.
Description of artwork:
In this drawing of three mineworkers, Hugo
explores the different identities of South
African labourers. She aims to break with
the traditional idea of portrait painting
mostly being reserved for the wealthy. In
treating the portraits of people who are
often being overlooked or taken for granted
(but who play a vital role in society and
economy), with equal virtuous formality
and exhibiting them in a gallery, she aims
to present them to the viewer as individuals
with reconsidered significance, status and
importance.

53. 51
Joubert, Ladiné
Pretoria
Ars Mariendi collection:
Decadence of death
Mixed media
170cm x 40cm x 40cm
Profile:
Joubert was born in 1986 and
studied BA(FA).
Description of artwork:
The focus in this work is the dialectic
between aesthetic and anti-aesthetic
as symbolic of most binaries such as
self/other, young/old and life/death. She
thought of beauty (life) as constructive
but at the same time destructive within
western society. On the other hand
she finds death as destructive but also
constructive as in nature’s continuous
rebirth.The work was created to attract
and repulse simultaneously.

54. 52
Joubert,Tarien
Pretoria
Tadarida
Mixed media
32cm x 160cm x 160cm
Profile:
Joubert was born in 1986 and studied
BA(FA) at the University of Pretoria.

55. 53
Joubert,Tarien
Pretoria
Microtus longicaudus
Mixed media
91cm x 136cm x 70cm
Description of artworks:
We live in a world where cloning and ge-
netic engineering form part of biotechno-
logical manipulation.This manipulation is
visually manifested in these creatures that
instil a sense of compassion in the viewer.
Beauty can be found in utter banality.

56. 54
Keevy, Amy
Port Elizabeth
Bleed her white
Mixed media
(Five-part)
35cm x 43,5cm x 13cm each
Profile:
Keevy was born in 1987 and studied for
the National Diploma in Fine Arts at the
Nelson Mandela Metropolitan University,
Port Elizabeth.
Description of artwork:
Keevy explores the concepts of the fe-
male body and identity, as well as issues
relating to the female gender.The word
‘white’in the title is used symbolically to
represent an innocence and virtue, which
in some societies can be forced unrealisti-
cally upon women.
The series consist of five different images
of a female body.The wounds resemble
lesions on skin and represent the body
being de-sexualised.These‘wounds’are
being inflicted, but one can also see them
as wounds‘oozing’from the skin.There
is a tension between the inner and outer
body. From one point we see the wounds
being inflicted and from a different point
it is the body itself, which leaks and
bleeds. In an attempt to repress female
sexuality, the opposite is occurring – it is
now prominent and unconcealed.

57. 55
Kraft, Gina
Johannesburg
God bless you
Video
1 min 12 sec
Profile:
Kraft was born in 1977 and studied BA(FA)
at the University of the Witwatersrand.
Description of artwork:
This piece came about as a response to
George W Bush’s somewhat unintelligent
speeches regarding the reasons for the
war with Iraq. It issues a challenge to
the thoughtless followers not only of a
leader going down a dangerous path, but
of the school of thought that encour-
ages the mindless disregard for the use
of‘God’s’name in making decisions.This
in a country that is largely Christian and
cannot (or will not) argue with the decla-
ration that said decisions are the will of
God. It references the over-hyped boxing
matches in the USA, where scantily clad
girls walk around the ring announcing
the next round with a big signboard.

58. 56
Lila, Philiswa
Pretoria
Untitled
Mixed media
115cm x 88cm
Profile:
Lila was born in 1988.
Description of artwork:
The artist is concerned with the appear-
ance of a person’s skin and she focuses
mainly on old people. It is believed that
when you grow older you lose your
beauty but for her it is not the case.
Beauty can be imperfect. Each line/wrin-
kle on a person’s face tells a story of how
you lived your life.

59. 57
Description of artwork:
The artist gives recognition to one of
South Africa’s living pioneer artists
namely Noria Mabasa.The work is based
on one of her earlier works.
Profile:
Lindi was born in 1973 and studied BA(FA)
at Rhodes University, Grahamstown,
which he did not complete. He has par-
ticipated in several exhibitions, including
the Absa L’Atelier Exhibition in 2007.
Lindi, Nyaniso
East London
Tribute to Noria Mabasa
Linocut
103cm x 134cm

60. 58
Profile:
Liversage was born in 1973. She studied
for the National Higher Diploma in Fine
Arts at the Orange Free State, Bloem-
fontein. She also studied for the BTech
(FA) degree at the Technikon Free State,
Bloemfontein. She has participated
in several exhibitions, including the
Volkskas Atelier Exhibitions in 1995 and
1996. She also participated in the Absa
L’Atelier Exhibitions in 2005 and 2008.
Description of artwork:
This work is inspired by an illustration
done in August 1910 by black heavy-
weight boxing champion, Jack Johnson.
It depicts the highs and lows of John-
son’s fight against white man James
Jefferies. The black and white ribbon in
this composition conveys a message of
protest against crime and abuse, which
are a constant threat to our society.
These epidemics affect the youth and
woman primarily in South Africa. Her
subject matter visually portrays the
connotation linked to ribbons. The
repetitive element of the ribbon rep-
resents the manner in which we wear
it as well as the generation of aware-
ness it creates. An awareness ribbon is
understood and worn by anyone.
Liversage, Kilmany-Jo (Née Hunt)
Bellville
The fight in black and white
Mixed media
(Twelve-part)
29,5cm x 29,5cm each

61. 59
Lotz, Hannah-Ada (Paton)
Pretoria
No matter if you black or pitch black:
I’m free to be black as I am
I am super black
Photography
(Diptych)
a) 108,5cm x 76cm
b) 108,5cm x 76cm
Description of artwork:
Throughout her day the artist ob-
serves and venerates all the beauti-
ful coatings of people around her.
She is fascinated by the visual feast
of different tonalities of skin colour.
Her lens has zoomed spontaneous-
ly into the finer details and shades
of people with pitch-black skin, an
avenue unexplored.
In these avenues she noticed an
astonishing amount of ice cream
being eaten. This ‘sweet tip’ went
straight into studio and has
become a most enjoyable way to
create portraits. The shoot lasts as
long as the ice cream lasts. True
happiness is captured - ice cream
on skin.
Profile:
Lotz was born in 1974 and studied
BA(BPK) Business Communication at
the University of Potchefstroom. She
also obtained a Diploma in Commercial
Photography at the National College of
Photography. She has participated in
several exhibitions, including the Absa
L’ Atelier Exhibition in 2005, where
she was selected as one of the top ten
finalists. She also participated in the
Absa L’ Atelier Exhibition in 2007.

62. 60
Lüneburg, Nathani
Pretoria
Dreaming of home
Video/DVD
2 min 30 sec
Profile:
Lüneburg was born in 1982 and
studied BA(FA) at the University of
Pretoria.She also studied MA(FA)
at the University of Pretoria.She
has participated in several exhibi-
tions,including the Absa L’Atelier
Exhibition in 2004 where she was
selected as one of the top ten
finalists.She also participated in
the Absa L’Atelier Exhibitions in
2005 and 2006.She was selected
as a Merit AwardWinner in 2006.
She also participated in the Absa
L’Atelier Exhibition in 2007.
Description of artwork:
This work is based on dreams the
artist experienced during her three-
month stay in Melbourne (October
2008 – December 2008).Being
away from her familiar surround-
ings,the artist often found herself
lost in her own bizarre dreams.
These dreams consisted of strange
ever-changing images,referring to
her greatest fears and fantasies of
her past and present life.Intrigued
by how the brain can capture im-
ages and produce them during a
state of sleep – a state where she
does not have control over what she
sees or feels,she decided to create a
mind-map of her dreams,docu-
menting them based on what she
could remember.

63. 61
Mailula, Sepolwana Jonas
Polokwane
The calling
Acrylic on board
48 cm x 98 cm
Profile:
Mailula was born in 1981 and studied for
the N6 National Certificate in Art and
Design at the Northern Province Commu-
nity College. He has participated in several
exhibitions, including the Absa L’Atelier
Exhibition in 2008.
Description of artwork:
Back in the olden days our parents used
to call the people for a meeting with the
kudu horns. Today we use the vuvuzelas to
support our teams. Through this paint-
ing the artist wants to call the people to
come to our country to support the 2010
FIFA World Cup.

64. 62
Makoatsa,Teboho Justice
Johannesurg
Jo’burg my Jo’burg
Oil on canvas
50,5cm x 101,5cm
Profile:
Makoatsa was born in 1984 and is a self-
taught artist.
Description of artwork:
Here the artist depicts Johannesburg with
the Marble Tower, the city of dreams.

65. 63
Makoatsa,Teboho Justice
Johannesurg
2010 Battleground
Oil on canvas
50,5cm x 102cm
Description of artwork:
In this painting the artist depicts Coca
Cola Park in celebration of South Africa
hosting Africa’s first 2010 FIFA World Cup.

66. 64
Makoatsa,Teboho Justice
Johannesurg
Keep working …Jozi
Oil on canvas
50,5cm x 101,5cm
Description of artwork:
This work depicts the expansion of the
Johannesburg cityscape.

67. 65
Maxiniva,Wongalethu
East London
Black diamonds
Oil on canvas
87,5cm x 63cm
Profile:
Maxiniva was born in 1983 and obtained
a National Diploma in Fine Arts at the
Walter Sisulu University.
Description of artwork:
In this work the artist portrays a couple
at a social gathering.

68. 66
Mbedzi, Rudzani
Thohoyandou
Musangwe (Traditional boxing)
Wood
28cm x 35cm x 27cm
Profile:
Mbedzi was born in 1980.
Description of artwork:
In this wooden sculpture the artist depicts
the traditional art of boxing.
28cm x 35cm x 27cm35 7

69. 67
Mbedzi, Rudzani
Thohoyandou
Mine boy
Wood
32cm x 14cm x 19,5cm
Description of artwork:
In this wooden sculpture, Mbedzi
portrays a mineworker.
oh
m
,,
Tho
32cm x 14cm

70. 68
McLachlan, Alastair James
Johannesburg
While you walk back and forth
Mixed media
98cm x 123cm x 10cm
Profile:
McLachlan was born in 1974 and obtained a BA
degree from the University of Natal, majoring in Art
and Drama. He has participated in several exhibi-
tions, including the Absa Atelier Exhibition in 2001,
the Absa L’Atelier Exhibitions in 2002, 2003, 2004,
2005, 2006, 2007 and 2008. He also received an Absa
L’Atelier Merit Award in 2002.
Description of artwork:
‘First there is a drive-in.Then there is no drive-in.
Then there is’.This holographic illusion or suspension
of time is a poetic summary of the stages of enlight-
enment; before, during and after. McLachlan uses
this illusionary method as a metaphor for the proc-
ess of change... a proud monument and a tombstone.
A birth, death and resurrection rolled into one…
essentially an endeavour to save this moment, while
time and meaning move inexorably onward.
P fil D i ti f t

71. 69
Meistre, Brent Arthur
East London
The stranger who licked
salt back into our eyes
DVD installation
5 min
Description of artwork:
The stranger who licked salt back into ours
eyes loosely narrates the history of the
arrival of a stranger in a land where he has
come to find himself and his love.
The stranger from foreign lands brings
with him knowledge,which is on one level
enlightening but also burdening,a dis-
ability.With him he carries all his tools and
crafts, the prosthesis he needs to survive
and to carry on his melancholic search.
Bound to the earth through his disability,
he cannot escape his serpentine exist-
ence. He burrows through the landscape
archaeologically,unearthing historical evi-
dence with hints of apocalyptic revelations
of what has brought about his fate.
The soundtrack is a traditional Swahili
love song Malaika (Angel/love),as sung
on the east coast of Africa.The song has
long been described as an unofficial Pan
African anthem. It has been adapted and
reworked as sung by Harry Belafonte and
Miriam Makeba.The song is sung from the
perspective of a young lover who marries
due to financial woes.
Profile:
Meistre was born in 1975 and studied for
the BA(FA) at Rhodes University, Graham-
stown. He also studied for the MA(FA)
degree at the same university, which he
received with distinction. He obtained a
Postgraduate Diploma in Higher Educa-
tion with distinction at Rhodes Univer-
sity, Grahamstown. He has participated
in several exhibitions, including the Absa
Atelier Exhibition in 2001 where he was
chosen as Merit Award Winner. He also
participated in the Absa L’Atelier Exhibi-
tion in 2005.

72. 70
Milovanovic, Masa
Pretoria
Affective, screaming headless torso and hybrid
Mixed media installation
200cm x 200cm x 200cm
Profile:
Milovanovic was born in 1985 and studied
BA(FA) at the University of Pretoria.
Description of artwork:
In a sense we have all become cyborgs,
hybrid organisms that fuse human,
machine and animal into a new embodi-
ment or disembodiment. Contemporary
society’s way of life is being altered
through our extensive use of technolo-
gies, giving birth to new forms of pos-
sibilities for the human body, lifestyle and
consciousness.

73. 71
Minné, Linkha
Port Elizabeth
Oval vanity set
Mixed media
(Triptych)
37cm x 28cm x 13,5 each
Profile:
Minné was born in 1986 and studied for
the National Diploma in Fine Arts at the
Nelson Mandela Metropolitan University,
Port Elizabeth. She also obtained the
BTech(FA) degree at the Nelson Mandela
Metropolitan University, Port Elizabeth.
Description of artwork:
The work consists of three plaster‘vanity’
cases each with a glass dome lid. Inside
each case are wax palms and the attach-
able fingers.The cushions on which these
rest are sanitary pads, tampons and face
cotton pads.
Beautification and/or meeting society’s
standards in some cases de-feminises
women, which are represented by the
unused female hygienic products.unused female hygienic products.

74. 72
Mlangeni, Sabelo Wonderboy
Johannesburg
Safe, free, blood
Photographic print
139cm x 97cm
Profile:
Mlangeni was born in 1980 and studied a
photography course at the Market Photo
Workshop, Johannesburg.

75. 73
Mlangeni, Sabelo Wonderboy
Johannesburg
Safe abortion
Photographic print
139cm x 97cm
Description of artworks:
After an incident where a baby was
discovered in a dustbin, the artist began
to notice how many flyers were pasted
randomly all over the city. It seemed as
if ‘quick and easy’ abortions were readily
available to all, even more so during holi-
days. This aspect became the focus point
of the artist’s work. His interest was also
focussed on the HIV/Aids pandemic.

76. 74
Mokgotho, Hendrick Nare
Johannesburg
Stolen Mokgotho
Mixed media
70cm x 70cm
Profile:
Mokgotho was born in 1986 and is cur-
rently studying BA(FA) at the University
of the Witwatersrand.
Description of artwork:
Stolen Mokgoto implements the idea that
the artist is a brand – a brand identified
most notably through its distinctive
name, with more intensity. Instead of
intrusively including himself as a col-
laborative partner in the creation of other
artist’s works, he has chosen to include
the signature of another artist on one of
his works.

77. 75
Moloto, Itumeleng Benette
Bloemfontein
The disciple
Acrylic on canvas
90cm x 60cm
Profile:
Moloto was born in 1979 and studied art
at the Mmabana Cultural Centre.
Description of artwork:
This painting depicts the baptism of
a disciple.

78. 76
Mosopa,Tshepo Gordon
Pretoria
Untitled
Mixed media
27cm x 46cm x 24cm
Profile:
Mosopa was born in 1985 and studied
Fine and Applied Art for two years at the
Tshwane University of Technology,
Pretoria. He is currently studying Print-
making at the Artist Proof Studio.
Description of artwork:
The wheel is the metaphor to explore the
concept of how fragile life is. Although
the glass is covered by the tyre it can fall
out and break at any time.The tar rep-
resents the hardness of life – filled with
potholes and pitfalls.
Description of a
The wheel is the metap
l
t
m
f
The wheel is the metap
concept of how fragile
t
m
f
concept of how fragile
the glass is covered by t
out and break at any tim
resents the hardness of
potholes and pitfalls.

79. 77
Ncaphayi, Mongezi Zanemvula
Johannesburg
Dialogue with the strayed
Linocut
56cm x 74cm
Profile:
Ncaphayi was born in 1983 and studied for the Na-
tional Diploma in Art and Design at the Ekurhuleni
East College of Art and Design.
Description of artwork:
Through this work the artist portrays his fascination
with collecting specific kinds of tools associated with
hard labour. These discarded objects became meta-
phors of our history,which is layered with emotion.

80. 78
Nekhavhambe, Mbavhalelo Immanuel
Thohoyandou
Fetish charms
Video
1 min 50 sec
Profile:
Nekhavhambe was born in 1981 and stud-
ied for the BTech(FA) degree.
Description of artwork:
The artist took Nkisi from its cultural
place and treated it as something totally
different than what it was originally cre-
ated for.

81. 79
Pretorius, Alet
Pretoria
Rain II
Digital print
49,5cm x 67,5cm
Profile:
Pretorius was born in 1980 and studied
B(Journ) at Rhodes University,
Grahamstown.
Description of artwork:
As a photo journalist, Pretorius is often
placed in unfamiliar situations and by
recording certain events, places her in
a position of a better understanding of
other people, cultures and events. Experi-
encing the beauty and the ugliness in the
world makes you appreciate your own life
and makes you tolerant towards other
people’s lives and way of living. Here she
captured a person sheltering from
the rain.

82. 80
Pretorius, Lorinda Samantha
Port Elizabeth
Rendering illusion
Mixed Media
45,5cm x 34,5cm x 25cm
Profile:
Pretorius was born in 1987 and studied
for the National Diploma in Fine Arts at
the Nelson Mandela Metropolitan Uni-
versity, Port Elizabeth.
Description of artwork:
Multiple sheets of glass are inserted into
a stand and arranged in a linear manner
to create an illusion of a three-dimen-
sional image.
o
r

83. 81
Rautenbach, Janice Lyn
Port Elizabeth
See me
Clay and cement
200cm x 200cm
Profile:
Rautenbach was born in 1977 and studied
for the BTech(FA) degree at the Nelson
Mandela Metropolitan University, Port
Elizabeth.
Description of artwork:
The work consists of 32 small fragile
white ceramic pots. Every pot rests on a
block of cement.The blocks of cement are
placed in a grid formation and deals with
the personal and the cultural identity of
the artist as a white person.

84. 82
Reen, Joanne Louise
Port Elizabeth
Nest
Human hair and hairspray
10cm x 10cm x 10cm
Profile:
Reen was born in 1976 and studied for the
BTech(FA) degree at the Nelson Mandela
Metropolitan University, Port Elizabeth.
Description of artwork:
The nest-like form symbolising a nurtur-
ing place of safety, was created from
crocheted, female hair. Hair is a reference
to the recollection of past traditional
feminine roles. As Catherine de Zegher
suggested“hair is the symbol of remem-
brance; the timelessness of hair reflects
the timelessness of memory.”The work
is gender-motivated and questions post-
feminist identity in contrast to pre-femi-
nist desires to please and comfort.

85. 83
Rosin, Stephen John
Bellville
Rangefinder (2009)
Mixed media
45cm x 97cm x 92cm
Profile:
Rosin was born in 1975 and studied for
the National Diploma in Fine Arts at
the Technikon, Port Elizabeth. He also
obtained his BTech(FA) degree cum laude.
He has participated in several exhibitions,
including the Absa L’Atelier Exhibition in
2007 and 2008. He was chosen as a top
ten finalist in 2008.
Description of artwork:
A range-finder is a device that measures
the distance from the observer to a spe-
cific target.The purpose of this is to accu-
rately aim the weapon in order to exact
a‘kill’.The rangefinder game is based on
luck and chance and therefore contra-
dicts this idea of accuracy.The piece is
intended to mimic museum installation,
showcasing a toy from a bygone era.This
gives the work an archival identity, which
genders a degree of authenticity and
believability in the piece.

86. 84
Rosin, Stephen John
Bellville
The devil makes his Christmas pie
from politicians’ tongues and bankers’
fingers (2008)
Mixed media
58cm x 80cm
Description of artwork:
The work is a visual adaptation of the English
proverb“The devil makes his Christmas pie
from lawyers’tongues and clerks’fingers”.It
speaks of the current propensity of concen-
trating wealth and power in the hands of an
elite few while disregarding the need of many.
It shows a group portrait of what could
possibly be a government, cabinet or board
members of a bank or corporation.The form
is purposefully garish and is intended to
express and satirise the often flashy superfi-
ciality of the overly wealthy and powerful.

87. 85
Saayman,Wynand Philippus
Bellville
Kits-Kos
Mixed media
164cm x 65cm x 33,5cm
Profile:
Saayman was born in 1984 and studied
BA(FA) at the University of Stellenbosch.
He has participated in several exhibitions,
including the Absa L’Atelier Exhibitions in
2007 and 2008.
Description of artwork:
This is an ongoing project in which the
artist investigates the (visual) identity of
the Afrikaner male.

88. 86
Sales, Lynda Dorothy (Lyndi)
Bellville
Carbon cloud
Mixed media
104,5cm x 155,5cm
Profile:
Sales was born in 1973 and studied BA(FA)
(Printmaking) at the University of Cape
Town,which she obtained with distinc-
tion. She also studied for the MA(FA) at the
University of Cape Town,which she also
obtained with distinction. She has partici-
pated in several exhibitions,including the
Absa Atelier Exhibition in 2001 and in the
Absa L’Atelier Exhibitions in 2003, 2004,
2005,2006,2007 and 2008. She was also
selected as a top ten finalist in the Absa
L’Atelier Exhibitions in 2003 and 2005,
whilst she received a Merit Award in 2007.
Description of artwork:
The artist was initially interested in using
carbon paper from a printmaking perspec-
tive as a medium of multiplication. But
rather than using the paper as‘ink’she
was more fascinated in the carbon paper
as the final product.
The recordable traces,in negative,of an
image or text that are left behind in layers
on the iridescent electric blue of the carbon
paper are almost forensic.Carbon paper
used to create sensitive documents can
be subjected to forensic analysis and is
thus a concern within information security.
Therefore,it must be shredded or otherwise
destroyed to maintain security.The artist
gathered carbon paper waste from various
institutions that were obliging and began
cutting electric cloud formations into
the paper.

89. 87
Shabalala, Mbhekiseni Victor
Durban
The scapegoat
Mixed media
53cm x 31cm x 24cm
Profile:
Shabalala was born in 1975. He grew up
on the Ardmore farm in the Natal Mid-
lands and returned to the farm after he
left his job at Shoprite Checkers. He has
participated in several exhibitions.
Description of artwork:
The Zulu people slaughter goats to
perform their rituals and it reminded the
artist of Jesus Christ in one way or an-
other.The knobs on the body depict the
sins that the scapegoat carries on behalf
of everybody.

90. 88
Shabalala, Mbhekiseni Victor
Durban
Mother of the nation
Mixed media
50cm x 24cm x 21cm
Description of artwork:
Mother of the nation is portrayed in such
a manner as to make us aware that she
can feed the nation.
uch
e

91. 89
Shoul, Marc Gary
Johannesburg
Casbah roadhouse, King George Road,
Brakpan, 2008
Photography
61,5cm x 59cm
Profile:
Shoul was born in 1975 and studied for
the National Diploma in Photography at
the Port Elizabeth Technikon. He also ob-
tained his BTech degree in Photography
at the Port Elizabeth Technikon. He has
participated in several exhibitions.
Description of artworks:
This is a depiction of some of the day-to-
day activities in the small mining town
of Brakpan on the East Rand, Gauteng.

92. 90
Shoul, Marc Gary
Johannesburg
Down town sports bar, Elliot Road,
Brakpan, 2008
Photography
61,5cm x 59cm

93. 91
Snyman,Wessel Shea
Bellville
On the mechanics of loss and melancholy
Mixed media
56cm x 70cm x 26cm
Profile:
Snyman was born in 1985 and studied
BA(FA) at the University of Stellenbosch.
He is currently reading for an MA(FA) at
the University of Stellenbosch. He has
participated in several exhibitions.
Description of artwork:
This is a mechanical piece that audibly
copies the emotional journey through loss
and the melancholy that follows.ancholy that follows.

94. 92
Strydom, Esti
Bellville
Cameleopardalus
Photographic print
55,5cm x 83,5cm
Profile:
Strydom was born in 1985 and studied
BA(FA) (Photography) at the Michaelis
School of Fine Art, University of Cape
Town. She has participated in several
exhibitions and received several awards.
Description of artwork:
The illustration of the animal comes
from the 16th century and was drawn by
someone who has never seen a giraffe
first-hand and who had to conjure up
an image from the imagination and oral
descriptions.This illustration is re-photo-
graphed on slide film, projected onto and
into a real specific site and documented
to show some proof of the performance/
intervention.

95. 93
Stuart-Clark, Lucy Bena
East London
Domestic confrontation
Mixed media
(Sixteen-part)
30cm x 23cm each
Profile:
Stuart-Clark was born in 1987 and is
currently studying BA(FA) at Rhodes Uni-
versity, Grahamstown.
Description of artwork:
Inspired by Victorian silhouettes and
cameos, Domestic confrontation was
inspired by Victorian woman question-
ing the notion of an idealised woman in
the 21st century. Most often a woman is
considered‘ideal’if she can maintain a
good home while pursuing a successful
career.The irony is that most South Afri-
can career women are often only able to
maintain their homes because they have
hired help. In theory, this would make the
South African domestic worker an‘ideal’
woman – she is able to make money from
keeping the home together. It is, however,
not her home. Domestic confrontation ex-
plores this tension by contrasting certain
South African consumer goods – brands,
which are often targeted towards par-
ticular races.

96. 94
Thobejane, Nkahloleng Lucas
Polokwane
Another shift
Wood
47cm x 23,5cm x 12cm
Profile:
Thobejane was born in 1973. He trained
as a carpenter and had no formal train-
ing in art. He has participated in several
exhibitions, including the Absa L’Atelier
Exhibition in 2006.
Description of artwork:
South Africa has many minerals and
therefore different kinds of mines. Many
people work in the mines to provide food
for their families.
nother shift
Wood
7cm x 23
shiftshift
3,5cm x 12cm

97. 95
Thobejane, Nkahloleng Lucas
Polokwane
Sarie tea please
Wood
40cm x 12,5cm x 10,5cm
Description of artwork:
There is a man called Tom who loves tea.
Everyday he opens his window and win-
dow curtains and calls Sarie his employee
that it is tea time.
T

98. 96
Tschudin, Carolyn Dominique
Polokwane
Roots
Charcoal
95,5cm x 191,5cm
Profile:
Tschudin was born in 1984 and studied
for the National Diploma in Fine Arts at
the Tshwane University of Technology,
Pretoria.
Description of artwork:
This artwork portrays the roots of all or-
ganic life and who you are through your
DNA, your heritage, the beginning of life
and memory.

99. 97
Tshivhandakano, Ndwamato
Thohoyandou
Woman and child abuse
Linocut
51,5cm x 42cm
Profile:
Tshivhandakano was born in 1982 and
studied Art at Matongoni. He has partici-
pated in several exhibitions, including the
Absa L’Atelier Exhibitions in 2005, 2006
and 2008.
Description of artwork:
The artwork depicts women and child
abuse.

100. 98
Tully, Ann-Marie Patricia
Johannesburg
Anilogos: Space dog, Sputnik V
Oil on canvas
28,5cm x 35cm
Profile:
Tully was born in 1976 and studied MA(FA)
at the University of the Witwatersrand. She
has participated in several exhibitions, in-
cluding the absa L’Atelier Exhibition in 2007.
Description of artwork:
Domination of animals is encoded into the
very structure of language.Try and follow
the word‘cats’with‘whom’and your spell-
check will quickly alert you to the more
appropriate‘that’.This work is concerned
with upstaging the animetaphor by assign-
ing language and thoughts to creatures
who have before and after Descartes been
nothing more than automata supposedly
functioning without sentence, thought and
language.

101. 99
Van Zyl, Adelle
Pretoria
Nameless things #14
Mixed media
63,5cm x 63,5cm
Profile:
Van Zyl was born in 1981 and studied
BA(VA) at Unisa.
Description of artwork:
The work portrays categories, labels,
names, etc. and that we are caught up in
definitions and in trying to fit in.

102. 100
Visser, Marguerite Elizabeth
Bloemfontein
Possession/walkway/intersection
Oil on wood
(Triptych)
a) 60cm x 42cm
b) 60cm x 42cm
c) 60cm x 42cm
Description of artwork:
The triptych explores the enchantment
that preserved natural settings hold for
the city dweller.The paintings are based
on photographs, which documented the
artist’s walk on the otter trail in the Tsit-
sikamma nature reserve near Knysna.The
woods are an embodiment of myth and
fairytale fear, notions that intersect with
the rational and metaphorical experience
of cultivated pleasure.
Profile:
Visser was born in 1985 and studied
BA(FA) at the University of the Free State,
Bloemfontein.

103. 101
Wargau, Fabian Oliver
Pretoria
Screen drip: 08
Enamel paint on canvas
152cm x 121,5cm
Profile:
Wargau was born in 1984 and studied
BA(VA) at Unisa.
Description of artwork:
The artwork investigates new ways to
equate with pixels from a television
screen paint on canvas.This process has
led the artist to create works that deny
the televised experience as a whole
– capturing only instances of a‘real’
visual – any minute part of the screen, or
even screen-shots in their entirety. Drops
of enamel paint are in essence‘interlaced’
as a television screen would when medi-
ating a broadcast using colouration that
is limited only to the RGB, the red, green
and blue.The concept deals with media-
tion as well as reality.

104. 102
Washkansky, Dale
Bellville
Cleave
Mixed media
73,5cm x 89,5cm
Profile:
Washkansky was born in 1980 and studied
BA(FA)at the Michaelis School of Fine Art,
University of Cape Town. He is currently read-
ing for an MA(FA) at the same university.
Description of artwork:
The image grapples with the notion of a wil-
ful return and an aching separation.The im-
age was constructed by physically collaging
negatives to make a composite and singular
negative.The process remains the mark-
ings of erasure and compilation.The figures
thereby retain wounds, which separates
them from the background.The masculine
and feminine figures therefore remain dis-
connected from each other, locked into their
respective spaces in which the environment
becomes bruised hinting at a vacuous emp-
tiness beneath the photographic surface.

105. 103
Watermeyer, Robert William
Bellville
Onseepkans port of entry, 14th August 2008
Photography
75cm x 90cm
Profile:
Watermeyer was born in 1983 and studied
BA(FA) at the Michaelis School of Fine Art,
University of Cape Town. He is currently
reading for an MA(FA) at the Michaelis
School of Fine Art, University of Cape Town.
Description of artwork:
Onseepkans port of entry, 14th August 2008
is a border control point between South
Africa and Namibia.The artist is presently
investigating the border posts of South
Africa and this work forms part of a larger
body of work.

106. 104
Watermeyer, Robert William
Bellville
Golela port of entry, 29 August 2008
Photography
74,5cm x 90cm
Description of artwork:
Golela port of entry, 29 August 2008 is
a border control point between South
Africa and Swaziland.The artist is inves-
tigating the border posts of South Africa
and this work also forms part of a larger
body of work.

107. 105
White, Ernestine
Bellville
Who am I? Who are you?
Mixed media
39cm x 52cm
Profile:
White was born in 1976 and studied BA(FA) at the
School of Art and Design, Purchase College, New York.
She also studied MA(FA) at the Michaelis School of Fine
Art, University of Cape Town.
Description of artwork:
While on a residency in Colombo, Sri Lanka the artist
encountered the word Kaffir, which is used to describe
a community of people who are of African descent
within the Sirambiyadia region of the country.The
artist’s interaction with the word has forced her
to re-evaluate the symbolic content inherent in its
meaning and its relation to her as an individual with
a specific geographical and historical background. Like
memories, words are not concrete things but rather
symbols that contain a deeper set of meaning, that
symbolically represent a particular context that is not
always clear and changes over time.

108. 106
Whitehead, Johanna Jacoba (Hanje)
Johannesburg
Partouse de poisons (Orgy of fish)
Mixed media
42cm x 12,5cm x 120,5cm
Profile:
Whitehead was born in 1985 and studied
BA(FA) at the University of Pretoria. She has
participated in several exhibitions, including
the Absa L’Atelier Exhibitions in 2007 and
2008.
Description of artwork:
The artwork consists of three leather kinetic
fish on a stainless steel box.The artist
works with fish for its unrivalled symbolism
related to the lives of humans whose lives
become as restricted as that of fish. Our
daily lives become patterns of our existence.
,5 ,5

109. 107
Wildenboer, Barbara
Bellville
Birds of prey
Mixed media
(Five-part)
43,5cm x 43,5cm each
Profile:
Wildenboer was born in 1973 and studied
BA(Ed) at the University of Pretoria. She
also studied BA(VA) at Unisa and MA(FA)
at the Michaelis School of Fine Art, Uni-
versity of Cape Town. She has partici-
pated in several exhibitions, including the
Absa L’Atelier Exhibitions in 2003, 2005
and 2008.
Description of artwork:
Birds of prey consist of a series of five
discarded natural history reference
books, the pages having been manipu-
lated into forms that are more sculp-
tural. The artist’s working process entails
sourcing from different reference books
and transfering and juxtaposing images
and text from different pages onto
each other to create new visual hybrids.
Reference is made to processes of cross-
referencing and intertexts as it occurs in
scientific study.

110. 108
Wright, Linda Kathryn
Port Elizabeth
Transcending prosperity
Mixed media
153cm x 66cm x 66cm
Profile:
Wright was born in 1976 and studied
BA(FA) at Rhodes University,
Grahamstown.
Description of artwork:
The chandelier epitomises material wealth
and luxury and is usually found in the
foyer or entrance to a building or home,
looming powerfully and authoritatively
over our heads and dominating our first
impression as we enter the interior and
gaze upward.
The artist inverted the chandelier to
reverse its position to the polar opposite
to directly negate this intention. In doing
so the artist is grounding it to the surface
beneath our feet and in turn it grows
upward like a tree to meet our gaze. In
the current economic depression and
prevailing global scarcity consciousness,
she invites the viewer to transcend the
material and rise above the value we place
on luxurious commodities and the exhibi-
tion of wealth to bringing it down from its
high status to base level.

111. 109
Ziqubu, Sicelo Victor Sandile
Johannesburg
Unfinished story of 2010 FIFA World Cup
Mixed media installation
180cm x 200cm x 200cm
Profile:
Ziqubu was born in 1974 and obtained a
Public Relations Diploma. He has partici-
pated in several exhibitions, including the
Absa L’Atelier Exhibition in 2008, where he
was selected as a top ten finalist.
Description of artwork:
This is an incomplete story of the soccer
tournament to be held in South Africa next
year. It is hoped that this tournament will
brighten the lives of our South African rain-
bow nation as well as our guests who will
be arriving in aeroplanes from elsewhere.

112. 110
Previous Absa L’Atelier Winners
1986
Winner
Penny Siopis
Merit Award Winners
Deborah Bell
Andrew Breebaart
Dennis Purvis
Simon Stone
1987
Winner
Clive van den Berg
Merit Award Winners
Andries Botha
Philippa Hobbs
Tommy Motswai
Karel Nel
1988
Winner
Diane Victor
Merit Award Winners
Kay Cowley
Guy du Toit
Johann Louw
Margaret Vorster
1989
Winner
Hennie Stroebel
Merit Award Winners
Caroline Jones
Walter Oltmann
Giulio Tambellini
Jeremy Wafer
1990
Winner
Barend de Wet
Merit Award Winners
Andrew Breebaart
Jean Bruwer
Guy du Toit
Judy Woodborne
1991
Winner
Virginia MacKenny
Merit Award Winners
Nicole Donald
Ruth Mileham
Johann van der Schijff
Pierre van der Westhuizen
1992
Winner
Paul Edmunds
Merit Award Winners
Wayne Barker
Marc Edwards
Dominic Thorburn
Minette Vári
1993
Winner
Dominic Thorburn
Merit Award Winners
Siemon Allen
Diek Grobler
Adam Letch
Russel Scott
1994
Winner
Jonathan Comerford
Merit Award Winners
Andrew Putter
Kevin Roberts
Henk Serfontein
Alastair Whitton
1995
Winner
Kevin Roberts
Merit Award Winners
Moses Cetywayo
Gordon Froud
Diek Grobler
Peet Pienaar
1996
Winner
Isaac Khanyile
Merit Award Winners
Hanneke Benadé
Wim Botha
Samkelo Bunu
Berco Wilsenach
1997
Winner
Ilse Pahl
Merit Award Winners
Lucas Bambo
Cecile Heystek
Kim Lieberman
Richardt Strydom
(Known as Volkskas Bank Atelier Competition up to 1998 and from 1999 to 2001 known as
Absa Atelier Competition)

113. 111
1998
Winner
Karl Gietl
Merit Award Winners
Wayne Barker
Hanneke Benadé
Jean Brundrit
Peter Rippon
1999
Winner
Ryan Arenson
Merit Award Winners
Brad Hammond
Fritha Langerman
Albert Redelinghuys
Vanessa van Wyk
2000
Winner
Brad Hammond
Merit Award Winners
Joni Brenner
Natasha Christopher
Colbert Mashile
Nigel Mullins
2001
Winner
Stefanus Rademeyer
Merit Award Winners
Marco Cianfanelli
Daniel Hirschmann
Brent Meistre
Merryn Singer
2002
Winner
Marco Cianfanelli
Merit Award Winners
Natasha Christopher
Alastair McLachlan
Benninghoff Puren
James Webb
2003
Winner
Sanell Aggenbach
Merit Award Winners
Retha Bornmann
Natasha Christopher
Patricia Driscoll
Berco Wilsenach
2004
Winner
Conrad Botes
Merit Award Winners
Stephen Hobbs
Pieter Hugo
Lize Muller
Robert Rich
Gerard Sekoto Winner
Belinda Zangewa
2005
Winner
Berco Wilsenach
Merit Award Winners
Katherine Bull
Lawrence Lemaoana
Patrice Mabasa
Mikhael Subotzky
Gerard Sekoto Winner
Lawrence Lemaoana
2006
Winner
Ruth Sacks
Merit Award Winners
Nathani Lüneburg
Riason Naidoo
Anet Norval
James Webb
Gerard Sekoto Winner
Nomusa Makhubu
2007
Winner
Pierre Fouché
Merit Award Winners
Nina Barnett
Wayne Matthews
Lyndi Sales
Jaco Spies
Gerard Sekoto Winner
Nina Barnett
2008
Winner
James Webb
Merit Award Winners
Christiaan Hattingh
Lunga Kama
Alhyrian Laue
Atonia Steyn
Gerard Sekoto Winner
Retha Ferguson