My work, in part, mirrors and symbolically chronicles my childhood experiences, dream states, both past and present, and encapsulates commentary on contemporary living. Growing up in apartheid South Africa during the late 1950"s and 1960"s, I experienced first hand a dystopian reality. However, through play, I created imaginary worlds that were rich and fantastical, in spite of living in the midst of societal conflict and strife. The dichotomy of my upbringing is made evident in drawings and sculptures.
This series consists of three-dimensional elaborations on architectonic structures which contain elements from a dystopian past or an apocalyptic future. They are rustic, made of discarded cardboard that I use to express fragility and perseverance within vulnerable ecosystems. The aged patina of the sculptures transcends the art povera materials used. I see my structures as desolate, once holding activity and now existing as living remnants. The sense of emptiness and abandonment is otherworldly, bringing forth a vapid silence. Although unintentional, it becomes apparent that my work directly relates to fragmented memories of my native country. It is a country that in recent years has evolved in varying stages, as the leadership strives to rectify the disparity between the rich and poor; urban, suburban and rural; the redistribution of wealth and race relations. The struggles are in many ways parallel to the dilemmas faced in the United States and around the globe. My work portends an imminent future, one replete with flotsam and a quest for spirituality that has endured since the beginning of mankind.
While working, I don’t have a clear agenda, but meld memory with form in order to create. Sorrow is embodied in these works in conjunction with the optimism of tomorrow.