Collage on paper.
The winged Niké of Samothrace is festooned with a grimacing face (a photograph of an old metal door) surmounted with a Rhinoceros (Photograph). At the feet of the Goddess of Victory is a bench on which a human is laid out in sacrifice (also a photograph). A formal design element has been added at the lower right resembling the rising temperature in a thermometer-like architraval device, striating outwards.
Oil on Canvas. H92 x W 127.2 cm
Chameleon Conga rainbow dance emulating the Totentanz is performed to conjure up appetizing blowflies. Metaphorically, the Southern African chameleon feeds on the quintessential Australian blowfly
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Oil on Canvas. H69 x W93.5cm
Oil on canvas. H75 x W130cm
San artefacts. The accoutrements for survival. The San (hunters and gatherers) together with the Khoi (pastoralists) are the First Nations people of Southern Africa. Against the odds they have survived which is suggested in the title. I am the custodian of a substantial personal collection of artefacts put together over a fifty year period which incorporates the Cnoops trove. The painting is a still life composition.
Oil On Canvas. H68 x W62 cm
This work addresses the plight of the threatened African elephant. This painting depicts a stuffed and mounted juvenile African Elephant (Loxodonta Elephantidae) on a wall surrounded by a wallpaper of ‘honesty’ (Lunaria annua). This is a preposterous image. After all, who would shoot a baby elephant and then, have it resurrected by a taxidermist. The seeds in the Honesty pods have the appearance of small ghost-like Edvard Munchian faces. They are at once witnesses to the inhumane treatment of this beautiful creature as well as detailing various emotions ranging from disdain, shock and horror.
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