Cheryl Traub-Adler

b. Cape Town, South Africa, 1959.

Cheryl Traub-Adler is an interdisciplinary artist. Her public art intersects between performance, embodied practice and localized site-specific disruption. Her studio practice focuses on the creative process in printmaking, collage, poetry and painting.


1981: Michaelis School of Fine Art, Diploma in Fine Art - Photography major.

1995: Centre for Creative Education, Waldorf teacher training - Foundation phase.

2003: Bridging Polarities through Art - A 2-year part-time training in process art facilitation
Online Studies.

2011-19: Online courses – Medicine and the Arts: Humanizing Healthcare, The University of Cape Town; What is a Mind?, The University of Cape Town; Identity, Conflict and Public Space, Queen’s University; Politics, Art and Resistance, The University of Kent; Behind the Scenes at the 21st Century Museum, University of Leicester; Why We Post, University College London; Arts and Technology Teach-Out, University of Michigan.

Solo Exhibitions

2017: Analogue V, Alliance Française, Cape Town, South Africa.

2012: The Figure Imagined, Art In The Forest, Cape Town, South Africa.

2012: Ancestral Robe Washing, FirstSite Specific, Plettenberg Bay, South Africa. 

2014: The Minds Eye, Klein Karoo Nasionale Kunstefees, Oudshoorn, South Africa.

Group Exhibitions

2020: Fly To Me, The Project Space, Johannesburg, South Africa.

2019: Fundamental Rationalism, Eclectica Print Art Gallery, Cape Town, South Africa.

2018: Politics of Water (Performance Photographs Curated by Mirjam Asmal), Association for Visual Arts, Cape Town, South Africa.

2018: Privacy is not a Right, Slave Church Museum, Cape Town, South Africa.

2018: Politics, Art and Resistance, TATE Modern/TATE exchange FutureLearn, United Kingdom.

2017: New Guard, ArtB Gallery, Cape Town, South Africa.

2015: Persistence of Memory, Centre for Curating the Archive, Untitled Studios,  Cape Town, South Africa

2015: Oppressive Space, Wolf Architects Pumflet ‘Rondehuis, Cape Town, South Africa.


2020: Garden of a Future Nostalgia (with Luan Nel), Nel Art Gallery, Cape Town, South Africa.

2019: Daor Contemporary Opening: Installation - Mixed Tapes ReWind Version 2

2019: My Mothers Dress (Finalist Winner), PPC Imaginarium, Johannesburg Art Gallery, South Africa.

2018: Home Affairs / Artweek Cape Town (Curated by Astrid Von Brucken), Collaborative Intervention,  Daor Contemporary, Cape Town, South Africa.

2018: Deconstructing National Monuments, Thupelo Workshop, Cape Town, South Africa.

2018: Artists Breath, GUS Stellenbosch, Cape Town, South Africa.

2016: Paths of Pilgrimage, Roundabout.LX, Lisbon, Portugal.

2015: Bloed, Snake Eagle Thinking Path, Matjiesfontein, South Africa.

2014: Making Space, Open City, Church Square, Cape Town, South Africa.

2014: Basurama, Gardens, Cape Town, South Africa.

2014: Kraal.Installation Performance, Nieu Bethesda, South Africa.

2014:  Hyym Zys Hyym/Home Sweet Home Installation, Klein Karoo Nasionale Kunstefees, Oudshoorn, South Africa.

2014: Cage of Follies, Geodesic Dome, Tankwa Karoo, South Africa.

2013: Lifna Adam- Artisinal Response, Installation,  Fez, Morocco

2013: Xtincture & the Salt in the Wound, Greatmore Studio, Cape Town, South Africa.

2011: Ithemba Love Letters (with OneMileClock), BurningMan, Nevada, United States of America.

2010: Dream Interactive BodyMap Installation, AfriKaburn, Stonehenge Private Reserve, South Africa.

2010: TroyArtPuppet contributor to TroyArt, Museum of Modern Art, Rio de Janeiro, Brazil.


2019: Mihloti Ya Wansati / Women’s Tears (with Lizette Chirimme), Investec Art Fair Gallery Night, AVA Stoep, Cape Town, South Africa.

2017: What the Body Remembers, Collaborative Alliance Française du Cap, Cape Town.

2017: Drawing the Line, Kalk Bay Platform, Collaborative public intervention with Gita Galinea and SlowLife, Kalk Bay, South Africa

2014: How long is a piece of string? Afrikaburn, Tankwa Karoo, South Africa.

Ernestine White-Mifetu

Ernestine White-Mifetu

b. Cape Town, 1976. Lives in Kimberley, Northern Cape.

An innovative print-maker, Ernestine White’s work investigates notions of place, identity and belonging in the context of South Africa’s political and social history.


2020: Finance for Non-Financial Managers, GIBS, University of Cape Town, Cape Town.
2013: Bachelor of Arts (Honours) Specialising in Curatorship, Michaelis School of Fine Art, University of Cape Town, Cape Town.
2007: Project Management Certificate, Cape Peninsula University of Technology, Cape Town.
2004: Master of Fine Art, Michaelis School of Fine Art, University of Cape Town, Cape Town. 
2001: Master Printer Certificate, Tamarind Institute, New Mexico.
2000: Professional Printer Program, Tamarind Institute, New Mexico.
1999: Bachelors in Fine Art, School of Art and Design, SUNY Purchase College, New York.


2011: Impressions from South Africa, 1965 to Now, Museum of Modern Art, New York.
2009: Innovative Women, Constitutional Hill, Johannesburg.
2009: ABSA Atelier Award (Top 100 selection), Johannesburg.
2008: Print ’08: Myth, Memory and the Archive, Bell Roberts Contemporary Art Gallery, Cape Town.
2008: Scratching the Surface, AVA, Cape Town.
2007: africa south, AVA Gallery, Cape Town. 
2007: ReCenter, Lookout Hill, Khayelitsha, Cape Town.
2007: Glamouraid, Kizo Art Gallery, Kwa-Zulu Natal.
2007: Amarula Room, Sandton City, Johannesburg.
2007: Women for Children, The Museum Room, Parliament of South Africa, Cape Town.
2006: Cape Town: Contemporary Prints, Polvo, Chicago.
2006: Women for Children, Art for Humanity, Tatham Gallery, Pietermaritzburg and Cape Town.
2006: Print 2006, Bell Roberts Gallery, Cape Town and Art on Paper, Johannesburg.
2005: Krisp, Art B Gallery, Bellville, Cape Town.
2005: Artists thinking in beads, Coeo Art Collaborative, Cape Town.
2005: Botaki Exhibition 3, Old Mutual Asset Managers, Cape Town.
2005: Botaki Exhibition 2, Old Mutual asset Managers, Cape Town.
2004: Woolworths, Canal Walk, Cape Town.
2004: Art Cool-LG Electronics, Roodebloom Wine Launch, Johannesburg
2003: Surface=Print, AVA, Cape Town.
2003: Picnic, Bell Roberts Gallery, Cape Town. 
2003: Voicing the Abstract, Community Arts Project, Cape Town.
2002: Tamarind impressions, Allan Greene Gallery, New Mexico.

Work experience

2019-Present: Director, William Humphrey's Gallery, Kimberley.
2016-2019: Curator of Visual Arts Programme, National Arts Festival, Makhanda, Port Elizabeth.
2014: Guest Curator of Contemporary Art, Cape Town Art Fair, Cape Town. 
2011: South African Regional Coordinator, Freedom to Create, Cape Town.
2007- 2011: Senior Projects Coordinator: Parliamentary Millennium Programme, Parliament of the Republic of South Africa.
2003- 2006: Exhibitions Coordinator-Curator: Parliamentary Millennium Project, Parliament of the Republic of South Africa.
2005: Part-time Lecturer: Michaelis School of Fine Art, University of Cape Town.
2004: Collections Manager, Iziko South African National Gallery, Cape Town.
2002-2003: Tours-Coordinator: Parliamentary Millennium Project, Parliament of the Republic of South Africa.
2003: Press Assistant: Impact International Print Conference, Cape Town.
2002: Visual Arts Coordinator/Performer: Clanwilliam: A story is like the wind, University of Cape Town
2000-2001: Tamarind Master Printer: Tamarind Institute, New Mexico.
1999- 2000: Tamarind Professional Printer Training Program, New Mexico.
1999: Teaching Assistant: Introduction to Woodcut and Lithography, SUNY Purchase College, New York.
1998-99 Internship: The Printmaking Workshop, Manhattan, New York.

Exhibitions curated

2019: Trading Places, 14th Curitiba Biennale, Brazil.
2018: Visual Arts Programme, National Arts Festival, Makhanda
2018: El Anatsui – Meyina, Iziko South African National Gallery, Cape Town.
2017: The Art of Disruptions, Visual Arts Programme for National Arts Festival, Makhanda.
2017: Lionel Davis- Gathering Strands, Iziko South African National Gallery, Cape Town.
2017: Beth Diane Armstrong: in perpetuum, Standard Bank Young Artist for 2017, Iziko
South African National Gallery, Cape Town.
2016: Women's Work: Crafting Stories, Subverting Narratives, Iziko South African National Gallery, Cape Town, SA
2016: The Art of Disruptions, Iziko South African National Gallery, Cape Town. SA
2015: History will Break your Heart: Kemang Wa Lehulere. Standard Bank Young Artist
for 2015, Iziko South African National Gallery, Cape Town. 
2015: Studio: Celebrating the Lives and Works of South African artists, Iziko South
African National Gallery, Cape Town.
2014: Time and Again: Retrospective Exhibition by Penny Siopis, Iziko South African
National Gallery, Cape Town. 
2014: Brave New World: 20 Years of Democracy, Iziko South African National Gallery,
Cape Town. 
2014: Altered Perspectives: Featured artist Lyndi Sales, Cape Town Artfair, V&A
Waterfront, Cape Town. 
2013: Between Words and Images, Iziko Rust En Vreugd House Museum, Cape Town.
2007: Women for Children, Parliament of the Republic of South Africa, Cape Town. 
2006: Perspectives and the Mapping of Africa, Parliament of the Republic of South Africa, Cape Town. 
2006: Voices of Women, Cape Town International Convention Centre, Cape Town.
2004: 10 Years of a Democratic Parliament, Parliament of the Republic of South Africa, Cape Town. SA


Museum of Modern Art, New York
The Printmaking Workshop, Manhattan, New York
Michaelis School of Fine Art, University of Cape Town
Centre for African Studies, University of Cape Town
Irma Stern Museum, University of Cape Town


2005: Mario Pissarra, Botaki: Exhibition 3, Conversations with Donovan Ward, Old Mutual Asset Managers, Cape Town
2005: Mario Pissarra, Botaki: Exhibition 2, Conversations with Sophie Peters, OMAM, Cape Town (exhibition catalogue)
2005: Ernestine White, from Then and Now, Chimurenga vol. 7, July.
2004: Sophie Perryer (ed.) 10 years, 100 Artists: Art in a Democratic South Africa, Bell Roberts Publishing, Cape Town
2003: Picnic (catalogue, exhibition curated by Andrew Lamprecht)
2001: Technical Talk. Tamarind Institute Art on Paper. NY (Jan- Feb; Mar– Apr; and Nov- Dec)
2001: Magazine of the Arts (MOA), Purchase College, NY. American Red Cross, Centennial celebration, NY


2006: Artists for Humanity [billboard, Langa, Cape Town]; Coeo Art Collective
2005: Bell Roberts Gallery [print]
2004: LG Electronics; and Coeo art Collective
2003: KWV

Grants and scholarships

2002 and 2004: Katrine Harries Memorial Bursary and McIver Scholarship, Michaelis School of Fine Art, University of Cape Town
2002: National Research Foundation Grant. University of Cape Town

Garth Erasmus

b. 1956, Uitenhage, Eastern Cape, South Africa. Lives in Brackenfell, Cape Town.

Visual artist and musician best known for his innovative use of materials, Garth Erasmus has extensive experience as a facilitator and teacher. Erasmus unsettles the hegemonic, exclusionary constructions of African and coloured identity through introspective explorations of his decolonial identity, frequently presented on an intimate scale.

© Mario Pissarra, 1/10/2005

Garth Erasmus comes from rural roots in the Eastern Cape . He studied Fine Arts at Rhodes University (1978-80) before moving to Cape Town . He taught art from 1982-1997 before becoming a full-time artist. Erasmus is well represented in the Smithsonian Institution’s National Museum of African Art, Washington DC.

Erasmus is known as a “painter” who uses unorthodox materials. He traces this back to his first Thupelo Workshop in the 1980s: “there was no more paint… we had to turn to something else”. He developed this further as a means of addressing the legacy of oil paint as a “European thing” and “to demystify art”, advocating the idea “that making artwork was accessible to anybody”. Erasmus comments that “on a purely practical [level]…there was always something that I wanted more out of paint and one of those things was for paint to have a certain three dimensional quality…so the discovery of acrylic paint was very important because it was not as precious as oils and it was much more flexible and elastic, and much more open to be corrupted with sand and things like that, objects…”

Like many artists of his generation Erasmus was acutely aware of the context and consequences of apartheid. He talks about how his family life was “destroyed” by “social engineering”. Many of his early works incorporate direct political imagery, including stencil images of Mandela at a time when representations of Mandela were illegal, with the allusion to graffiti reinforcing the positioning of his art outside of the dominant fine arts frame.

In the late 1980s, in anticipation of political change, Erasmus began to question his practice. Reflecting on his life as an artist he notes that: “I’ve changed now to becoming more isolated as an individual, as an artist…. I’ve become more and more interested in personal and private issues … in the overtly political times [the] private and personal was very much put aside”. A key part of this shift “was to look at what indigenous means in my life” He began “seriously researching indigenous culture, particularly San culture, Khoi culture, looking at words like “Hottentot”, that I grew up with.”

An important part of this process was his discovery of “the music of indigenous cultures”. This led him to invent instruments: “the music that I make is the same as the paintings that I make… they’re coming from the same source, the same spiritual and emotional place… I want to work towards bringing all of them together.” Although there have been changes in his person and in his art, Erasmus still sees himself as more of a cultural worker than an artist, with concerns about education and healing prominent in his thinking. “We all know that serious healing must happen, but for me there’s just no imaginative way of going about this healing… I’ve become sensitized in my own personal life to what that healing means, and what that healing is, and I’ve decided to put that in practice in my own way in my work.”


* A slightly edited version of this text appeared in Art South Africa , 2005


Demystifying Art: Garth Erasmus interviewed by Mario Pissarra

© Mario Pissarra, 24/04/2006

Mario Pissarra: As an artist what’s important for you when you make a piece of art, what is it that you are looking for when you make art?

Garth Erasmus: Love. When I start a work now, when I want to do it, there is this inevitable drive in me that is unstoppable. I only happen to be painting, it’s an accidental medium, but I think that the notion of what it does spiritually to me is the real thing that drives me to be creative. I like the fact that I feel better spiritually [and] emotionally after grappling with all the issues about making a work of art. It’s almost like a fighter after the fight, there’s that drainage of energy, something has happened. Now it’s almost a similar kind of feeling that I approach things [with] nowadays although it never used to be like that.

MP: How has it changed?

GE: I think its simply changed because of the political changes, and the transformation in our lives from apartheid to now. I don’t mean to say that there’s been great changes. Probably the fact that there’s been so little change is the thing that has changed me, because I think during the apartheid times one was always guided by a certain kind of mindset, a certain aim to your work, because these aims and this way of thinking was attached to a broader political picture that was being painted. I think with the ensuing changes and the hopes that one put into the future changes, the hopes that there will be so much changes for the lives of artists and the destiny of artists, because that hasn’t happened, I’ve changed to becoming more isolated as an individual, [and] as an artist. I find myself completely isolated now compared to those days and I find myself having to come more and more to terms with this isolation. I know people always say that you go into yourself but I feel this has happened to me because of the situation that has developed over the years. I’ve become more and more insular. I’ve become more and more interested in personal and private issues and these are the kinds of things that I grapple with in my work these days. Whereas in the political time, in the overtly political times, those private and personal [concerns were] very much put aside to another kind of agenda.

MP: What I find interesting is that you’re stressing this degree of personal engagement in the process of making, but in a lot of your works an archetypal image comes out..,

GE: Right.

MP: There is a sense of some kind of pre-history that emerges that communicates more of a kind of collectiveness, a sense of collective history or collective identity…it seems to be about more than you.

GE: I would agree with that. I think I very much respond to myself as a person who finds himself in a big urban settlement like Cape Town, but I only find myself in Cape Town in my adult life. I come from the Eastern Cape. I come from a very rural background. I grew up on dusty roads in Uitenhage in the Eastern Cape. I’ve never really escaped being that rural kind of soul deep down. I think this is the thing that has always been in me even though I never probably wanted to be aware of it or wanted to make it a priority, but I think I’ve always been aware of that side of myself deep down. I felt I wanted to deal in artistic terms with social issues and big issues because of the times, but I think deep down there’s always been that thing of a family history that has always been important in my own personal life. You probably have to first know a little bit about my family life to understand what I’m talking about, because I found that for a person like me coming to a big urban area, and that only happened to me in the mid 80s, I tended to be very aware of my otherness to urban beings. I was very much aware of myself as being an outsider to an urban environment, and the longer I stayed in the city the more I began to think about those issues of upbringing and family that I had thought I’d left behind. I’m not just talking on a simple personal level but I think about my family life and I become so much more aware of myself because my whole family life was lived during an apartheid time, was lived during a time of social engineering. So when I look at my family life I tend to look at how my family was destroyed. I always carry my heart on my sleeve about that because one way of dealing with political changes in South Africa now, and talking with people from overseas who want to know about these things I’ve always found myself in the past complaining about apartheid. But I find now that its so much more of value to explain apartheid to people because then you actually see the transformation on their faces, and its becoming quite clear to me that there’s a lot of aspects of apartheid life that people are ignorant of. So when I think about my own personal family life I’m dealing with [it] in a certain kind of way. A certain kind of healing begins to happen because I have an understanding of how this social engineering worked on, and I can only use myself and my family as an example. [Its] almost like I have live examples around me of how South Africa works, how apartheid in South Africa worked, because I have my family members, the way they turned out, the way my uncles’ lives turned out; my aunts, the extended family, how they were destroyed. Looking at these things gives me the kinds of material to work with now in this post apartheid period and for me it makes so much sense because I believe that we still haven’t really dealt with the issue of healing that was supposedly so important in the immediate post 1994 period and which the politicians were really feeding us a lot of. I think that ten years down the line seeing how so little has changed, I call into question the politicians use of that healing metaphor and symbol at that time. It’s almost as if they used it to dope society, [it’s] like [they] set an agenda but then they just leave everything and the society itself has to find out how this healing has to happen. We all know that serious healing must happen, but for me there’s just no imaginative way of going about this healing. So all in all what I’m trying to say is I decided that healing is necessary and I’ve become sensitized in my own personal life to what that healing means, and what that healing is, and I’ve actually decided to put that in practice in my own way in my work. Basically because I’ve become much more isolated as an artist I’ve had to deal with these changes in my own way.

Om die Omvang, zinc, canvas, sand and hinged boards, 2001

MP: People who know your work, one of the first things they would say or talk about is how you use materials in very creative ways. You use a range of materials that are not always conservative traditional art materials. How does you choice of materials relate to what you’ve been talking about?

GE: Even though I was always a painter and draughtsman being an artist in the 70s and 80s in South Africa was really being part of a certain kind of time. I’ve always been interested in the educational value of art. I suppose the other thing, that archetypal thing that you speaking of, I’ve always been aware that art is not just for you but it is for a wider community. So coming back to that point, I think I come from a tradition where art is considered to be of an educational value, that it has to have an educational value, and in the political times of the 70s and 80s when I was really a formative [artist] the thing that always interested me was that I didn’t consider myself to be somebody special as an artist. I thought of artists as being very ordinary people because I saw myself as an ordinary person, and I was always fascinated to relay this message to the general public out there that there’s nothing fancy or great about art making really, its ordinary people and ordinary issues, ordinary emotions. I’ve always been interested in the aspect of demystyfing art, and the first thing and the most logical way of doing that has always been the choice of materials, working with materials in a certain way. Working with classic paint and I’m talking about oil paint and turpentine and so on is such a classic material, is such a European thing that it was always very clear from the very beginning that paint itself as a medium couldn’t really do that in an African kind of environment. It had to go beyond that and found materials in an urban environment is such a logical way to go about that. I remember one of those first Thupelo workshops I went to way back in the 80s. I was very young and there were a lot of older people around me and I was very influenced by the conversations and dialogue that was happening around me and I was like a sponge. I remember this one artist saying that there’s colour lying all around. The context was there was no more paint at the workshop and there was this dilemma now. We had to turn to something else [and] the colour lying in the environment was like ready made paint. I think the step of moving towards material that is in your immediate environment was a natural step. There was phase in my life when I turned to using found materials and used it usually in collaboration with paint and so on but it comes from that kind of place, trying to demystify art. Basically that making artwork was accessible to anybody [to] pick up something from the rubbish dump, for example.

MP: Are any of your materials autobiographical? For instance when you’re talking about your rural roots you made me think about the sand in your paintings in a different way. Are there materials that have a particular resonance for you?

GE: Well, the sand. I particularly enjoy the sand, not just because of my contemplation of my roots. It was a perfect metaphor for me to use, but also on a practical level. There was always something [more] that I wanted out of paint and one of those things was for paint to have a certain kind of body, a certain three dimensional quality. I was always striving to work with paint in that kind of way and so the discovery of acrylic paint and acrylic mediums in general was very important in my life because it was not as precious as oils. It was much more flexible and elastic and much more open to be corrupted with sand and things like that, and it was very logical to me to start mixing it into my paint, and that’s where it actually began.

Music maker & muralist

MP: There’s also Garth the musician. How does that interface with Garth the painter? Are they two separate activities or do they come together in your paintings? Is there an overlap or is music an accompaniment at an exhibition opening? What is the interface, what is the relationship?

GE: I’m actually very much still working on what it means in my life. My vision and aim is for all these activities to eventually merge. I’m working towards that. It is what I’m doing. The music is not a separate part from my interest in art in general because my interest in music came as a result of a purely art activity in the mid 80s. But also it’s not just as simple as that. It was going together with investigating myself in a very personal way and trying to come to terms with what my own voice is. I think that that eternal dilemma that artists are looking for in their lives is something that happened to me. This whole aspect of thinking about my roots and my family life is closely wound up with the meaning of life lived in an apartheid situation. [For] me as a young person in the 80s, when I had these thoughts I had to put it into practice in some way. One of those ways was to look at what ‘indigenous’ means in my life. At the time there was no talk about these kinds of things, but it was because of my particular upbringing again that this came up, and I used this as a way of navigating these heavy political issues about social engineering, where we come from etc, because I grew up in a family where there was a lot of storytelling and stories particularly about ancestors, [my] great, great, great grandmother for example, stories about who she was, aspects of her life, where she came from, as an example. So I always [was] fascinated by this in my life because as I was maturing I realised that this was not a common experience for a lot of people and so I took it very serious from that point of view. I realized that there was something special in my life that I could actually build all my work on. I took this aspect of indigenous and what it means seriously in the mid 80s and started looking and reading and researching indigenous culture, particularly San culture, Khoi culture, looking at words like “Hottentot”, the one word that I grew up with. I was able now in my mature years to start looking at these things from an intelligent kind of point of view, reading researching and so on and it was within this research that I came across very accidentally, very spontaneously, examples of the music of indigenous cultu

res. It struck me when I came across this that I was not aware that our indigenous cultures were so rich in music. When I turned to further research and actually went to look at what these instruments of music, what they looked like as physical objects they were very influential and inspirational for me. I thrived on simply their three dimensionality, and because the way I received them at that stage was in a museum kind of context, in a context where I was still separated from this, I used this separation as a metaphor of doing something about them in my work. So I did a very simple thing. I had no idea what these musical instruments sounded like, but I had a clear idea of what they looked like. So I simply had to use my initiative and build something similar and find out what the music was. The music basically came as a secondary thing after the construction of these objects because when I think back now I was wanting to create these as three dimensional objects, as sculptures basically, and I was intending to use them as sculptures in my work. That was the original intention except when I made them the sound became much more interesting for me and it kind of took over to the point where I don’t see them as objects now, I see them as music making instruments where by actually creating the music that is within me… This is the fascinating thing for me because the music that I make is the same as the paintings that I make. I take it as the same… they’re coming from the same source, the same spiritual and emotional place. This is why I say all of these aspects are equal in my life which is why I want to work towards bringing all of them together. I just haven’t had that opportunity yet.

MP: I also wondered whether for you there were analogies between say the line in one of your paintings and a particular sound, whether you intuitively… as I understand it, correct me of I’m wrong, I don’t think you’ve got a classical background in music?

GE: No [Laughs]

MP: Do you on an intuitive level associate certain lines, certain colours with certain sounds in music, certain tones?


GE: No, not really but I’ll tell you an interesting thing. Immediately after I began playing instruments and these instruments range from string instruments to percussion instruments to wind instruments, I realized shortly afterwards when I started playing them, that I had to create a certain kind of language for these instruments because I intended to play them in certain situations. I realised that I had to have a language that I could call on. What I did was I created my own way of notation. I don’t think I would be able to explain it to you, because its very intuitive. Its simple things like on the string instruments… I would be drawing the string on paper and it would almost be like a visual image of how that played rather than a mind or intellectual image like a mathematical image, which is what musical notation looks like in the classical sense. So these were almost pictograms or pictures. For me this was how the language was working, and so this did influence me because I was playing and writing and notating my own music so often that it was becoming my own personal language and I felt free to use this in the other mediums that I was working on, my painting and my drawing I found myself actually calling upon this reservoir of icons that were developing as musical notation, so from that point of view there is a link but not from the associative angle with colours meaning certain sounds or anything like that, not at all.

MP: When you say that in the 80s you started exploring this notion of in

digenous culture and how you related to that, wasn’t that a very dangerous thing to be doing within the politics of the time? Apartheid tribalized people, it politicised ethnicity so when you started doing this, were there people you could share these ideas with or was this a very solitary thing? Was this something you had to keep quiet in case somebody was going to accuse you of being neo-tribalist? Did any of those politics come into it at all?

GE: I think so, but not in such a clearly defined way that you’re describing now. I think that I was living two kinds of lives as an artist. I think there was the public and the exhibition me, but I think at the same time this [personal and private] thing was happening to me. It was pretty much a solitary thing that I could only sense the importance of back then, and what I was trying to do is nurture it quietly by my own and on my own in a solitary way. But also as the 80s were going on I very early on through the political networks of the time started hearing rumours, stories, basically inside information that things were going to change, that Nelson Mandela was being spoken to surreptitiously on Robben Island. I heard these stories way back almost in the beginning, and it already set me on “hey we have to look forward, the next three or four years might be different” because in general nobody knew about anything that was going on. That gave me a little bit of a drive because I realized that very soon the artmaking in South Africa was going to change from a very overtly political [one] to something else. Now this something else was a big question mark, a big issue, because what is it going to be? So I was working from that kind of perspective as well, and that was encouraging this personal delving.

MP: I was going to ask you something else, and against my better judgement I will ask you… its what I call the The ‘Peter Clarke syndrome’ the better recognized abroad than at home syndrome… how do you personally feel about that? When I look at your CV I don’t see your work in corporate collections, I don’t see your work in the public institutions in South Africa and yet you’re well represented in the Smithsonian. Its not that nobody knows about you, but it seems to me that the recognition largely comes from outside the country, rather than inside.

Riemvasmaak, acrylic and sand on canvas, 79 x 76 cm, 1999.

GE: Yes, I would agree with that but this is precisely the point that I’m talking about, this post 1994 syndrome that we are in as artists. I think it’s the equivalent for me of floating around in a very strange kind of void because what I see when I look back at my experiences with overseas situations I’m always interested in where does this come from? What is the motivation for these curators, these gallery people? I’m interested because strangely enough in South Africa we have a tradition where our gallery people tend to model themselves on a European or an American way of doing things, and yet because of my experience of this I realize that they don’t know what they’re doing. They seem to be modeling themselves on something that I don’t understand actually, because I’ve always been fascinated by the fact that overseas curators, when they come here they don’t want to see a European thing. Constantly when speaking to foreigners they go to places like the national gallery [and] they say that it’s like walking in some gallery or some cultural space in Europe. I believe that we are not doing something right in this country and finding out what that is is so interesting for me. So I suppose people have seen something of a local character in [my] work… these overseas people they see something of an Africa, something of a here in the work [that is] of interest to them because that’s really ultimately what on all levels what overseas people have been interested in. The thing that makes the work talk about a certain kind of environment, so I feel that the fact that local galleries haven’t had that inquisitive nature about my work is something that I cant really delve too long on…I don’t understand it.

MP: What’s interesting for me is that I’m usually very critical of the South African art world in the sense that I feel very often its when an artist is recognized abroad that they get on the front cover here, but you’ve proven an exception to that. Peter [Clarke] proves an exception to that, so it shows it doesn’t always work like that. One wonders about whether its because the Smithsonian is regarded as being ethnographic or anthropological as opposed to being your traditional fine arts museum, is that the difference, I don’t know? The other thing I find odd is that there was a lot of interest in the country from certain quarters around the notion of black people painting abstract works…

GE: Right.

MP:…and I wonder there whether because of the race politics in South Africa perhaps in some of those peoples minds you weren’t black enough for that. I mean Dumisane Mabaso, for instance I know Dumi from the early 80s and I remember little etchings he used to make and I remember seeing the most horrible abstract painting I ever saw in my life hanging in the Johannesburg Art Gallery and being totally shocked that it was his. That work has appeared in I don’t know how many books, that same work,

GE: Okay…

MP:I’ve never seen any of his other images in any books…

GE: Right…

MP: So there was a particular interest in the fact that black people were doing this, but I wonder if the people who were advocating that position… whether you fell outside of that? What is it because definitely there was an interest in Thupelo and you are one of the people who is most prominently associated with Thupelo. Lionel [Davis] is a similar case. Lionel is in the Botswana National Gallery, the Zimbabwe National Gallery… he’s not in the South African National Gallery!

GE: [Laughs]

MP: He’s blacker than black!

GE: [Laughs]

MP: But he’s also not in terms of a particular apartheid way of thinking.

GE: Okay…

MP: So I don’t know…these are difficult things for me to be clear about, these perceptions….because I think its right what you’re saying. I do think that people do recognize something African in your work when they’re coming from outside.

GE: Yes.

MP: It’s interesting that you’ve worked for the National Gallery, for instance, and usually you’d think that well in that case you had your foot in the door. But I still don’t see your work there.

GE: [Laughs] I don’t know how these things work to tell you the truth, I really don’t know. I just haven’t been in that situation where I wanted to compromise being in these institutions or on these front pages. I’ve never considered it to be an important thing, so I never really sought these things. I think as I grow older and realize the way the systems work that there is a way of doing this. There is a way of achieving these things if you want them in your life. But I like to think that not compromising and not being easy to box has also been interesting for me. When I’m in a musical situation I find people are surprised when they know I do some paintings, similarly on the other side. So I’ve found this thing about reinventing myself to be a thing that worked for me in a very positive way because I don’t fit into things quite easily. When I look at how different people are interested in different aspects of my work, I can appreciate this and then I become aware that actually I enjoy this… the fact that people can’t put me into a box. This is actually the thing that makes [my art] powerful and the thing that actually works in my favour. [This] is a metaphor for us for the problems that we [have] in this country. We don’t even know enough about each other because this is where I see that problem of the Peter Clarke syndrome that you’re talking about, and I agree with you, I know that I fit into that. I can see things happening along that way but it says a lot about our own society and how we have been engineered, and for me it speaks about what it is we must do that is not happening. That is interesting for me because people are reading the South African situation differently to me and I’m an artist, I’m completely in the middle of things. Yet I see everybody surrounding the world of the artists in South Africa is not doing the work properly as far as I’m concerned.

[This is a mildly edited version of an interview that took place in Garth Erasmus’ studio at his home in North Pine, outside Cape Town on 21st of September 2005. Excerpts of this interview were used for the short profile on Garth Erasmus commissioned by Art South Africa]


South African artists:What’s next? Episode 2: Garth Erasmus Pierre Tremblay 2011


“South African artists: What’s next ?” Episode 2: Garth Erasmus from Pierre Tremblay on Vimeo.




Art Education

1978-80: Diploma in Fine Art , Rhodes University.
1975-77: Art Teaching Diploma, Hewat College of Education.

Workshops & residencies

2020: GUS Gallery, University of Stellenbosch, Stellenbosch.
2020: Stellenbosch Institute for Advanced Studies (STIAS), Stellenbosch.
2015: University of Delaware USA in collaboration with Nemours (Alfred DuPont Children`s Hospital), Delaware.
2013: Villa Waldberta, Munich, Germany. 
2004: BELLAGIO Study and Conference Center, Bellagio, Italy.
2004: Thupelo Workshop, Cape Town.
2003: E-POS: Belgium-South Africa exchange project, Caversham Artists Press, KwaZulu-Natal.
2003: Greatmore Studios, Cape Town.
2002-2003: Prohelvetia Cultural Exchange Programme, Solothurn, Switzerland.
1999: Cyfuniad International Artists Workshop, Plas Caerdeon, Wales.
1995: OMI International Artists Workshop, Hudson, New York.
1992-2000: Thupelo Workshop, Cape Town.
1985: Triangle International Artists Workshop, Pine Plains, New York.

Solo Exhibitions

2006: South African Paintings, The White Space Gallery, Axminster, UK.
2005: Evangelis/Soapbox (Performance), Iziko South African National Gallery, Cape Town.
2001: Looking for Dia!kwain, Greatmore Street Studios, Woodstock, Cape Town.
1985: Map for Freedom Fighter, Harris Brown Gallery, Boston. USA

Group Exhibitions (local)

2020: Cafe Ganesh, Observatory, Cape Town, South Africa.
2020: Something in Return, online exhibition.
2018: A Community of Families, Nelson Mandela University Gallery, Port Elizabeth.
2017: Beyond Binaries, KZNSA Gallery, Durban.
2016: Beyond Binaries, Essence Festival, Durban.
2015: Co-Existence, Erdmann Contemporary, Cape Town.
2011: AVA Retrospective exhibition: 1970 - 1990, Association of Visual Arts, Cape Town.
2010: As Is, Breytenbachsentrum, Wellington, South Africa.
2008: Manfred Zylla and Garth Erasmus, Erdmann Contemporary, Cape Town.
2007: ReCenter, Look Out Hill, Khayelitsha.
2007: Africa South, Association for Visual Arts, Cape Town.
2007: Riempie Vasmaak, Heidi Erdmann Gallery, Cape Town.
2006: Strange Attractors: Gary Frier and Garth Erasmus, Alliance Francais Du Cap Gallery, Cape Town.
2006: Movement, Greatmore Studios, Cape Town.
2006: Amajitas in Conversation, Association for the Visual Arts, Cape Town.
2005: Botaki Exhibition 3, Old Mutual Asset Managers, Pinelands, Cape Town.
2005: The Meermin Slave's Dream: Garth Erasmus and Malika Ndlovu, Slave Lodge Museum, Cape Town.
2005: The First Decade, Art b Gallery, Bellville, Cape Town.
2004: Botaki Exhibition 1, Old Mutual Asset Managers, Pinelands, Cape Town.
2002: The Mythic Image, Rust & Vrede Gallery, Durbanville, Cape Town.
2002: Sara Baartman Memorial Exhibition, Civic Centre, Cape Town.
2001: Cycle of Fives, Greatmore Studios, Woodstock, Cape Town.
2000: Opening Exhibition, Greatmore Studios, Woodstock, Cape Town.
1999: Parliament of World Religions, Civic Centre, Cape Town.
1999 Art Dialogue, The Castle, Cape Town.
1997: Die Ses, District Six Museum, Cape Town. 
1997: Trans Figurative, Association for the Visual Arts, Cape Town.
1996: David Koloane and Garth Erasmus, Artfirst Gallery, London.
1995: The Modernist Eye in Africa, Newtown Gallery, Johannesburg.
1991: Victor Petersen, Garth Erasmus, Linston Erasmus & Johann Davids, Centre for African Studies, UCT.
1982-1991: Vakalisa Arts Group, various township libraries and community centres, Western Cape.
1987: The Neglected Tradition, Johannesburg Art Gallery, Johannesburg.
1978: Victor Petersen & Garth Erasmus, St George’s Gallery, Port Elizabeth.

Group exhibitions (international)

2016: Resoundings, Mechanical Hall, University of Delaware, Delaware.
2013: Manfred Zylla and Garth Erasmus, Lanzstrasse Gallery, Munich.
2013: African Cosmos: Stellar Arts, Smithsonian Museum of African Art, Washington DC.
2009: Ferne Werme, Kunstlerhaus Neue Ulm, Ulm, Germany.
2008: Body of Evidence, National Museum of African Art, Smithsonian Institute, Washington DC.
2007: Inscribing Meaning: Writing + Graphic Systems in African Art, National Museum of African Art, Smithsonian Institute, Washington DC.
2003: Healing the feeling and 30 Days: Garth Erasmus and Ben Arnold, Altes Spital, Solothurn, Switzerland.
2002: Confronting the Contemporary, Smithsonian Museum of African Art, Washington.
2000: Cross Currents: Contemporary Art Practice in South Africa, Atkinson Gallery, Somerset, UK.
1999: Art Dialogue: South Africa-Germany, B Block, Castle of Good Hope, Cape Town.
1999:  Reclaiming Art/Reclaiming Space: Post Apartheid Art from South Africa, National Museum of African Art, Smithsonian Institute, Washington DC.
1997: South African Arborescence: End of the Century’s Artists, Nantes Festival of Art, France.
1996: David Koloane & Garth Erasmus, Artfirst Gallery, London. 
1996: Seven Artists from the New South Africa, Asaki Bomani Gallery, San Francisco.
1990: Freedom Now, Namibian Independence exhibition, Windhoek, Namibia.

Selected Performances

2018: Khoi'npsalms, Francois Blom, Garth Erasmus and Marietjie Pauw, Woordfees Festival, Stellenbosch.
2018: Ons is Almal Freaks Hier, theater piece dedicated to Sara Baartman, Stellenbosch University Museum.
2018: Dis Haus der Herabfallenden Knochen (The House of Falling Bones), Kante and Khoi Khonnexion musical theatre collaboration and performances, Hamburg Avante Garde Festival, Hamburg; KAMPNAGEL, Hamburg; Zurcher Theater Spektakel Feastival, Zurich.
2019: Dis Haus der Herabfallenden Knochen (The House of Falling Bones), Kante and Khoi Khonnexion musical theatre collaboration and performances, FFT-FFT Theater Dusseldorf; Munchner Kammerspiele Munich.
2015: Roesdorp, Marietjie Pauw and Garth Erasmus, Rupert Museum, Stellenbosch.
2012: Love Is… by Jacki Job, St. Philip’s Church, Cape Town.
2011: Two as One, Market Theatre, Johannesburg.
2011: Two as One, Artscape Theatre, Cape Town.
2009: CAPE 09 (Cape Town Biennale), A Walk Into the Night by Marlon Griffith, Company Gardens, Cape Town.
2008: Suidoosterfees, Artscape Theatre, Cape Town.
2005: EVANGELIS / SOAPBOX PERFORMANCE,  Iziko South African National Gallery, Cape Town.
2005: ITOKO, Zonnebloem School, Cape Town.
2004: Sound construction for the Vuka Awards ceremony with performances by Malika Ndlovu and Tina Schauw, Johannesburg.
2004: The Kiss by Jacki Job, choreographed and performed by Jacki Job with music by Garth Erasmus, Artscape Theatre, Cape Town.
2003: Healing the Feeling, Altes Spiral, Solothurn, Switzerland.
2003: Seven Flowers, The Wharehouse Theatre, Cape Town.
2003: This Side Up by Jacki Job with Hurgen Cornelson, Arena Theatre, Artscape, Cape Town.
2003: Journey by Garth Erasmus & Thandile Mandela with Muse String Quartet, Cape Town International Convention Centre. 
2003: Crossing the Water Changing the Air by Ingrid Askew, Erin Hall, Cape Town.
2003: Viral Retro, Greatmore Street Studios, Cape Town.
2002: An Evening of Love and Erotica, All Nations Cafe, Cape Town.
2002: Wet Carpets, District Six Museum, Cape Town.
2002: Sara Baartman Memorial Concert, Civic Centre, Cape Town.
2002: Urban Voices 2002, Garth Erasmus and Malika Ndlovu, Baxter Theatre, Cape Town.
2002: Eagles Speak, Association for Visual Arts Gallery, Cape Town.
2002: The Mythic Image, Rust & Vrede Gallery, Durbanville, Cape Town.
2002: Weave, The Whale Well, Cape Town Festival, South African Museum, Cape Town.
2001: Looking for Dia!Kwain, Greatmore Studios, Woodstock, Cape Town.
2001: Khoi Khonnexion, Viz-Ability Festival, Artscape Theatre, Cape Town.
2000: Khoi Khonnexion, Klein Karoo Kunsfees, Oudtshoorn.


National Museum of African Art, Smithsonian Institution, USA.
Mobil, RSA.
Numerous private collections.


2007: Anna Brzyski (ed.), Partisan Canons, Duke University Press, Durham and London.
2007: Stories op die wind, Volksverhale van die Noord-Kaap, Institute for Justice and Reconciliation [Illustrations and music].
2007: Anna Brzyski(ed), Partisan Canons, Duke University Press, North Carolina. 
2007: Inscribing Meaning: Writing and Graphic Systems in African Art, Smithsonian National Museum of African Art, Washington DC. 
2006: Hein Willemse (ed), Tydskrif vir Letterkunde, issue 43, volume 1, University of Pretoria. [Cover design]
2004: Sophie Perryer (ed.), 10 Years 100 Artists: Art in a Democratic South Africa, Bell Roberts, Cape Town.
2002: Confronting the Contemporary, National Museum of African Art, Smithsonian Institution, Washington DC, USA.
1989: Sue Williamson, Resistence Art in South Africa, Cosaw Press, Cape Town.
1989: Abduraghiem Johnstone (ed), Season of Bars, Cosaw Press, Cape Town [Contributor].


2015: 101 Day of Sodom, Heidi Erdmann Contemporary Gallery, Cape Town.
2013: AFRICAN COSMOS: Stellar Arts, Smithsonian National Museum of African Art, Washington DC.
2009: J McGee, Indigenous Relations, Journal of African art history and visual culture, No. 3, volume 4.
2007: Inscribing Meaning: Writing and Graphic Systems in African Art, Smithsonian National Museum of African Art, Washington DC. 
2007: Stories Op die Wind: Volksverhale van die Noord-Kaap, Institute for Justice and Reconciliation, Cape Town.
2007: Anna Brzyski (ed), Partisan Canons, Duke University Press, Durnham, North Carolina. 
2005: Mario Pissarra, Botaki 3, Old Mutual Asset Managers, Cape Town.
2004: Sophie Perryer (ed), 100 Years 100 Artists: Art in a democratic South Africa, Bell-Roberts Publishing, Cape Town. 
2004: Mario Pissarra, Botaki, Old Mutual Asset Managers, Cape Town.
2000: J Picton & J Law (eds), Crosscurrents: Contemporary Art Practice in South Africa
1999: Art Dialogue, RSA.
1997: South African Arborescence: End of the Century’s Artists, Nantes Festival, France.
1988: S Sack, The Neglected Tradition: Towards a New History of South African Art 1930-1988. Johannesburg Art Gallery, Johannesburg.
1987: Mobil Court Art Collection.
1985: Triangle International Artists Workshop. 

Publications (reviews and features)

2009: Ogbechie, S. (ed.) Critical Interventions: Journal of African art history and visual culture. numbers 3, volume 4.
2006: Art South Africa, vol 4, issue 3.
2005: Art South Africa vol 4, issue 2.
2004: Julia Landau (ed), Journey to myself, writing from South African women in prison, Cover design by Garth Erasmus.
2003: ROOTZ Magazine. Interview and article. December issue.
2002: African Arts, UCLA, USA.
2000: Contemporary Visual Arts Issue 29, London.
1992: The Kalahari Review [cover & drawings], Kalahari Press, Washington DC, USA. 
1991: Bad Alchemy [music magazine], Germany (April).
1985-1992: Vakalisa Art Group [calendars].

Publications (CD's, cassettes and videos)

2010: Cape Town Soup, A film by Marieke Helmus, Femke Monteny & Yoka Van Zuijlen, Music by AS IS.
2010: A Country Imagined, Episode 2: Northern Cape, Documentary on SABC TV2 , Presented by Johnny Clegg. 
2009: Music for I Am Not Yet Dead, Documentary film on Manfred Zylla, Directed by Philippa Ndisi-Hermann.
2009: Kalahari Waits by Khoi Khonnexion and co-produced by Nate May and KHOI Khoi Khonnexion.
2008: Interview and music for Shosholoza Express, Documentary film directed by Beatrice Moeller (Germany)
2005: Butterflies are Beautiful, Documentary by Julia Landau
2004: Healing the feeling, wit th Werne Feller and Christian Guy Tschannen.
2004: Induction Trance: Khoisan Bow music compositions
2004: Freedom is a personal journey. A documentary film by Akiedah Mohamed.
2003: Journey. [CD]
2003: Garth Erasmus, Devon Schools Curriculum services, UK. [Video]
2003: Thandile Mandela with Muse String Quartet. [CD]
2003: Kuat Piano, self-published. [solo CD]
2003: The Luggage is Still Labelled. Documentary by Voyiya, V. & McGee, J.
2002: VIsivivane So’Lwazi, Robben Island Museum, Cape Town.
2001: Womb to World [CD poetry anthology by Malika Ndlovu, music by GE], Himoon publications, Cape Town .
2001: Urban Culture video. Contemporary urban culture of Cape Town, South Africa. Documentary by Canadian TV.
2000: Greatmore Chickenfish [CD with Manfred Zylla & Emile Maurice], self-published.
1999: Cyunfiad International Artists Workshop, Wales
1991: Bad Alchemy [cassette], Germany (April)

Awards/ Grants

1998: National Arts Council
1985: Travel & project grants from the United States – South Africa Leadership Exchange Program.

Positions held

2015-16: Artist coordinator, Palestine Museum, Cape Town
2009-11: Chairperson, Africa South Artists Initiative.            
2007: Institute for Justice and Reconciliation (IJR). Art Workshop coordinator / mentor Upington, Northern Cape.
2007: Institute for Justice and Reconciliation (IJR). Art Workshop coordinator / mentor Lwandle Museum, Somerset West. Cape Town.
2006: Guest Art teacher at 7 schools in Devonshire, UK.
2003: Guest Art Teacher, 10 schools, Devonshire, UK.
2002-3: Guest teacher, Spring School, Robben Island Museum, Cape Town.
2000: Assistant Curator, District Six Museum, Cape Town.
1999: Guest teacher, Calder Kids Adventure Playground (for disabled children), Liverpool, UK.
1982-97: Art teacher, Zonneblom Children’s Art Centre.
1982-92: Guest teacher at Community Arts Project.

Positions held (voluntary)

2012-2020:  Board Member, Greatmore Street Artists Studios, Cape Town.
1999-2001: Committee Member, Greatmore Street Artists Studios, Cape Town.
1985-2000: Executive Member, Thupelo artists Workshop, Johannesburg & Cape Town.
1991-92: Assistant Co-ordinator, Community Reflections, Cape Town.
1983-87: Assistant Co-ordinator, Vakalisa Artists Group, Cape Town.

Helena Uambembe

b. Pomfret, Northern Cape, South Africa, 1994. Lives in Johannesburg.

Helena Uambembe is an interdisciplinary artist (textiles, printmaking, photography, performance). Drawing on her own life story, her art reflects on the erasure of histories of conflict and complicity of South Africa’s wars in Angola and Namibia, and the unspoken legacies of those wars that shadow the present.   


2018:  B Tech in Fine and Applied Arts, Tshwane University of Technology, Tshwane.
2016: National Diploma in Fine and Applied Arts, Tshwane University of Technology, Tshwane.

Solo exhibitions

2018:  KutalaChopeto [Seeking Comfort], World Refugee Day exhibition. Point of Order, Johannesburg, South Africa.

Group exhibitions

2020: FNB Art Joburg, Luamba Muinga, Johannesburg. 
2020:  Qual Futuro, Online exhibition.
2020:  The Borders of Memory, Guns & Rain, Johannesburg.
2020:  Covert Bioscope, Bag Factory Artist Studios. Online Exhibition.
2019:  Texidermia do Futuro. Museu National de Historia Natural, Luanda, Angola.
2019:  Multiplies, Johannesburg.
2019:  Resistance is Us. ABSA Art Gallery, Johannesburg.
2019:  Summer Salon, Bag Factory Artist Studios, Johannesburg.
2019:  The Warmth of Other Suns, The Melrose Gallery, Johannesburg.
2019:  Print Like a Girl, Turbine Art Fair, Gallery 2, Johannesburg.
2019:  Print Like a Girl, Art Room Gallery, Johannesburg.
2019:  Compulsive exhibition, Johanne van Heerden Gallery, Pretoria, South Africa.
2019:  Mark-making, Trent Gallery, Pretoria.
2019:  I don’t know what you are talking about, but I know what you mean, PASTOgalleria, Buenos Aires, Argentina.
2019:  Investec Cape Town Art Fair,, Cape Town, South Africa.
2019:  Spaces in Between, Tmrw Gallery, Johannesburg.
2018:  TUT Studio exhibition 2018, TUT Arts Campus, Pretoria.
2018:  Till Art Do Us Apart, TUT Art Festival, Pretoria.
2018:  Print Art – Now and Then, Trent Gallery, Pretoria.
2017:  Silences in Between, Goodman Gallery, Cape Town.
2017:  Nirox Sculpture Winter Fair, Krugersdorp, South Africa.
2017:  The Centre of the less good idea season 1, Arts on Main, Johannesburg.
2017:  South-South. Let us begin again. Goodman Gallery Cape Town.


2019:  ​Caminho do Mato, Caminho do Flores, Flores de Amor Extended,  Centre for the Less Good Idea, Johannesburg.
2019: ​Caminho do Mato, Caminho do Flores, Flores de Amor, FNB Joburg Art Fair, Johannesburg.
2019:  ​Therapy for the Black Man (In Honour of...), Underline Projects, Johannesburg.

2019:  ​Load I shall Carry (Prayer to mother Njinga), The Melrose Gallery, Johannesburg.
2018: Tchiganchi, The Point of Order, Johannesburg.


2019:  The Violence of an Anxious Mind - Panel Discussion, Bag Factory Artist
Studios, Johannesburg.
2019:  David Koloane Panel Discussion, Standard Bank Gallery, Johannesburg.
2019:  AFEMS – African Feminism Conference, Performing Normalcy: A focus on the
Women of the 32 Battalion, Johannesburg.
2018:  BLT People’s Table, Johannesburg.
2016:  The History we are told not to Speak (The history of the Pomfret community), Unisa School of Arts Conference, Pretoria.
2016:  Black Portraiture iii. The Untold Story of the Pomfret Community, University of the Witwatersrand, Johannesburg.


Jonathan (Jon) Berndt

b. 1950, Ladybrand, (then Orange) Free State, South Africa; d. 2010, Cape Town.

Jon Berndt was one of the founders of the Poster Workshop at the Community Arts Project. Best known for his political and educational graphics,  Berndt’s early creative practice was influenced by the Arte Povera movement. His last major project took the form of imagined public art works, where his acute political and graphic sensibilities are amply evident.

Lizette Chirrime

b. 1973, Nampula, Mozambique. Lives in Cape Town.

Lizette Chirrime produces mostly mixed media works, usually centred on textiles, and sometimes incorporating performative aspects.  Her works frequently incorporate autobiographical aspects, reflecting her life’s journey and dreams. Her images display a strong inclination towards abstraction, with affirming, organic forms that reference human, spirit and plant life. 

“Voyage Ensemble, A Journey Together” , Scalabrini Centre, Cape Town 2006


    Migration Week, 2006 Published by the Scalabrini Centre of Cape Town pp 99 – 112


Face(IN) Cape Town, 2006-2007, Exhibition pamphlet


  Love Cape Town magazine, volume 1, 2007, pp 56, 57


Rootz magazine,2007, vol 24


  “Voyage Ensemble, A Journey Together”, Scalabrini Centre, Cape Town 2007. Exhibition booklet.


Cape unplugged, Issue 3, 2008 pp 35-37


  Sombres, Movimentos e Sonhos (Shadows, Movements and Dreams), 2013, American Cultural Centre,Maputo – Catalogue


Roots, 2013, Institute of Visual Arts and Language, Exhibition pamphlet (catalogue)


  Viva magazine, August 2013


French/Mozambican Cultural Centre , June August 2013, Events program pg 18


Art education

Mostly self-taught, attended several art workshops.

Workshops & residencies

2015: In Print, ASAI/ Michaelis School of Fine Art, Cape Town.
2006: Truworths Artists Residency Programme The Castle, Cape Town.
2005: Greatmore Studio, Cape Town.

Exhibitions (solo)

2016: A Sinfonia da Alma Liberta II (Sounds of a Free Soul), World Art gallery, Cape Town.
2013: A Sinfonia da Alma Liberta, Centro Cultural Franco-Mocambicano, Maputo.
2005: Mozambican Consulate's Residence, Cape Town.
2004: Metamorforse de Saco, Associacao Mocambicana de Fotografia, Mocambique.

Exhibitions (group)

2017: 35. Lizamore and Associates, Johannesburg.
City lights…and shadows. Stephen Welz, Johannesburg.
Dress code. Gallery MoMo, Cape Town.
Beyond Binaries. Essence Festival, Durban.
2015: In Print / In Focus, Michaelis Gallery, University of Cape Town.
2013: Sombres, Movimentos e Sonhos, American Cultural Centre, Maputo.
2007: Voyage Ensemble: A Journey Together, Scalabrini Centre, Cape Town.
2007: africa south, Association for Visual Arts, Cape Town.
2006: Face (in), Castle of Good Hope, Cape Town.
2006: Cape Town Art Festival, Artscape, Cape Town.
2005: Artists Residency Exhibition, Greatmore Studios, Woodstock, Cape Town.
2004: Arte no Feminino, Museu Nacional de Mocambique.
2004: Evento Bolsa de Turismo, Feira de Arte, Lisbon.
2003: Ma Maf Festival, Centro Cultural Franco Mozambicano.


Mozambican Consulate, Cape Town. Private collections in Italy, Spain, Portugal and South Africa.


2013: Viva Magazine, August issue.
2008: Cape unplugged, Issue 3, pp 35-37
2007: Soul Fibre, Love Cape Town, Issue 1.
2007: Love Cape Town magazine. Volume 1. pp 56, 57
2007: “Migration Week”, Scalabrini Centre, Cape Town.
2007: Rootz Africa, volume 24.
2006: Cape Times, 21 September. Cape Argus, 11 August.
2005: The Tatler, October.
2004: Jornal Noticias, Maputo, 6 October.
2004: Jornal Savana, Maputo, 8th and 29th October.


2003-2010: Clothing and wall hanging commissions, private clients.
2009: Wall hangings, Lim Interior Design.


2004: First Prize, Evento Bolsa de Turismo Competition.


Maurice Mbikayi

b. Kinshasa, 1974. Lives in Cape Town
Maurice Mbikayi is a multimedia artist, working in sculpture, installation, performance and photography. Mbikayi skillfully integrates digital debris with political themes, foregrounding the problems of Africa’s continued exploitation for the progress of the global tech industry. By repurposing tech waste into sculpture, Mbikayi highlights the underbelly of ‘advancement’ – exploitation of Black mining labour, environmental damage and systemic health risks.

Arts Education

2015: Master of Fine Art with distinction, Michaelis School of Fine Art, Cape Town.
2009: Higher Certificate in Photography, Vega Brand Communication School, Cape Town.
2000: Graphic Design and Visual Communication, Institut des Beaux-Arts, Kinshasa.
1994: Diploma in Fine Art, Institut des Beaux-Arts, Kinshasa.

Solo Exhibitions (South Africa)

2019: Coucou Crumble, Gallery MOMO, Cape Town.
2016: Mupia-Mupia, Gallery MOMO, Johannesburg.
2011: Notre Peau, Association for Visual Arts, Cape Town; Centre for African Studies Gallery, Cape Town; Villa Arcadia, Johannesburg.
2010: Echoes, Alliance Francaise, Cape Town.
2007: Maurice Mbikayi, The Framery Gallery, Cape Town.

Solo Exhibitions (international)

2018: Mupia-Mupia, Fondation Friedrich Naumann, Dakar.
2018: Masks Of Heterotopia, Officine dell’Immagine, Milan.

Group Exhibitions (South Africa)

2019: Still Here Tomorrow to High Five You Yesterday…, Zeitz MOCAA, Cape Town.
2016: Paradoxal Stranger, Gallery MOMO, Cape Town.
2016: Troubled Land, Iziko South Africa National Gallery, Cape Town.
2015: On Entropy and Becoming, AVA Gallery, Cape Town; Constitution Hill, Johannesburg.
2011: Thinking Africa and the Diaspora Differently, Centre for African Studies Gallery, Cape Town.
2010: reasons to live in a small town, Goethe on Main Gallery, Johannesburg.
2010: Amani Festival, LookOut Hill, Cape Town.
2009: Artreach in progress, Association for Visual Arts, Cape Town.
2008: Soul of Africa, Development Bank of Southern Africa, Johannesburg.
2007: Human Rights Day, Iziko Slave Lodge, Cape Town.
2007: Reconciliation Day, Iziko Slave Lodge, Cape Town.
2007: Group Exhibition, Blank Projects, Cape Town.
2007: X-Cape Circuit, Scalabrini Centre, Cape Town, South Africa
2006: A Response to Picasso and Africa, Alliance Francaise, Cape Town.
2006: A journey together, Scalabrini Centre, Cape Town.
2006: Portrait, Association for Visual Arts, Cape Town.

Group Exhibitions (international)

2019: Face with Tears of Joy, Blitz, Malta.
2019: Digital Imaginaries: Africas in Production, Wits Art Museum, Johannesburg; Kër Thiossane, Dakar; ZKM, Karlsruhe.
2018: Congo Stars, Kunsthaus Graz, Graz.
2018: ON/OFF, Casa Victor Hugo, Havana; 17 Biennale De Lubumbashi, Lubumbashi.
2018: YOUNG CONGO, Kin ArtStudio, Kinshasa.
2018: Urban Axis / Another Antipodes, PS Art Space, Freemantle.
2018: WE CALL IT “AFRICA”, Artists From Sub-Saharan Africa, Officine dell’Immagine, Milan.
2014: Art of the Lived Experiment, The Bluecoat School Lane, Liverpool; Urban Institute for Contemporary Arts (UICA), Grand Rapids, Michigan.
2012: Window Exhibition/ Traces at Dock, Basel.
2011: Celeste Prize Finalists Exhibition & Awards, The Invisible Dog, New York City.
2010: AFRIKA SUR L’ÉVENEMENT POÉTIQUE, Centre Culturel des Mazades, Toulouse.
2008: The art of determination, Harare International Festival of Arts (HIFA), National Gallery of Zimbabwe, Harare.


2010: Voices, Spier Contemporary 2010 Biennale, City Hall, Cape Town.
2010: Minky Mwendo (Distant relationships), Mullineux Wine Cellar, Cape Town.
2010: Healing (with Lodi Paul Inga), Khayelitsha Festival of Cultural Diversity, Cape Town.
2008: Talking Heads (with Magdelena Kunz and Daniel Glaser), Pro Helvetia, Cape Town.


The Development Bank of South Africa, Midrand.
Hollard Corporate, Johannesburg.
Iziko South African National Gallery, Cape Town.
Scheryn Art Collection, Cape Town.
Progressive Art Collection, Mayfield Village, Ohio.
Yellowwoods Art, Cape Town.


2011: Business Art South Africa, July 27, p. 6. SA Art Times, February, p. 28. What’s on in Cape Town, Mail and Guardian, January 28 to February 3, p. 3. Cape Times, January 21
2010: Ruth Simbao, Cosmolocalism: The audacity of place, CCA Lagos Newsletter, no. 10, September-December. Jay Pather (ed.), Spier Contemporary 2010, Africa Center, Cape Town
2010 Sean O’Toole, Parting shot, Sunday Times, March 28. Art South Africa, Winter, vol. 8, issue 4
2007 Andrew Mulenga, Artistically brushing out xenophobia in SA, Weekend Post, November 30


2010-2011: The Hollard Creative Exchange Programme, Cape Town and Johannesburg.
2007: Best group proposal, Table Mountain Cable Way Station Award, Cape Town.


2010: Up and Down with Steve Bandoma (research project from '2010 Reasons to live in small town'), VANSA, Cape Town and Johannesburg.
2010: Performance Arts Workshop (with Spier Contemporary), Hiddingh Hall, Cape Town.
2010: Portrait (film documentary for Red Cross Exchange programme), Cape Town.
2010: Stroke of genius (workshop facilitator), Department of Sport and Cultural Affairs & Department of Trade and Industry, Cape Town.
2009: Facilitator at Art therapy workshop for adolecents and elderly, CWD Trauma and Healing Project, Cape Town.
2009: Facilitator at Art therapy workshop for women with HIV/AIDS, CWD Trauma and Healing Project, Cape Town.
2009: Facilitator at Art therapy workshop for children, Lawrence House Shelter, Cape Town.
2007: Educational youth programmes with Kathy Coates (a series of mixed media installations), Annexe at Iziko South African National Gallery, Cape Town.
2007: The art of dissent (a film documentary with Lionel Davis, Jonathan Zapiro, Ruth Carneson), Cape Town.
2006-2007: Multimediations, Cape Africa Platform (with City Varsity), Cape Town.
2006: Facilitator at Art therapy workshop for refugee women and children, Scalabrini Centre, Cape Town.


A Creative Exchange

Getting under our skinSuzy Bell, Cape Times January 21, 2011

Maurice Mbikayi Art South Africa 2011

Maurice Mbikayi: The Creative Exchange

“Voyage Ensemble, A Journey Together” , Scalabrini Centre, Cape Town 2007. Exhibition booklet.

“Voyage Ensemble, A Journey Together” , Scalabrini Centre, Cape Town 2006


Nirveda Alleck

b. 1975, Mauritius. Currently lives in Mauritius.

Nirveda Alleck is a multi-disciplinary artist who fuses public and personal situations to create works that unpack psychological notions of time, space, life and death.


2012: Cultural Leadership Training, African Arts Institute, South African Centre for the Netherlands and Flanders, Cape Town.
2001: Master of Fine Art (MFA), Glasgow School of Art, Glasgow.
1997: Bachelor of Art in Fine Arts (Hons.), First Class, Michaelis School of Fine Art, University of Cape Town, Cape Town.

Solo Exhibitions (Mauritius)

2018: Divine Weapons, Imaaya Art Gallery, Vacoas-Phoenix.
2013: Select Works, Angsana Balaclava, Balaclava.
2012: Art Party, Henessy Park Hotel, Quatre Bornes.
2007: Présent Immobile, La Citadelle, Port Louis.
1998: Zilch And All, Max Boullé Gallery, Beau Bassin-Rose Hill.
2004: Duad, Max Boullé Gallery, Beau Bassin-Rose Hill.

Solo Exhibitions (international)

2019: Car, vois-tu, tu as droit d’être obscur, Cité internationale des arts Paris, Paris.

Group Exhibitions (Mauritius)

2016: Edge Effects, La Citadelle, Port Louis.
2016: Porlwi by Light, Company Garden, Port Louis.
2013: La Belle Peinture II, Phoenix le Halles, Port Louis.
2012: We Have Lost The Way, Port Louis.
2010: The Landing of the Dodos, public, Quatre Bornes.
2010: 200 Years after the Battle of Grand Port, Commemorative Exhibition, Mauritius.
2009: Indian Diaspora International Exhibition, Mauritius.
2008: INTERLACE - Drawing Connections between SA, Finland and Mauritius, IMAAYA Gallery, Vacoas-Phoenix.
2008: Imaaya Group Exhibition, Imaaya Gallery, Vacoas-Phoenix.
2008: Omada, Live video performance.
2007: Liberté D’expression, Right Now! Exhibition, IBL Gallery, Port Louis.
2007: International Women’s Exhibition, Mahatma Ghandi Institute Gallery, Moka.
2005: 2nd Triennale of Contemporary Art, Mauritius.
2005: Salon de Mai, Mahatma Ghandi Institute Gallery, Moka.

Group Exhibitions (international)

2019: Streams of Consciousness, Rencontres de Bamako -  Biennale Africaine de la photographie, National Museum of Mali, Bamako.
2017: Ethics in a World of Strangers: Nirveda Alleck and Eric van Hove, Richard Taittinger Gallery, New York City.
2017: Tous, des sang-meles, Musée d´art contemporain du Val-de-Marne MAC/Val, Paris.
2016: Dakar-Martigny: Hommage À La Biennale D’art Contemporain, Le Manoir, Matrigny.
2016: We the People, Casablanca Intrenational Biennale, Cassablanca.
2014: Des hommes, des mondes, College des Bernardins, Paris.
2014: Where are we now?, Marrakech Biennale Parallel projects, Marrakech.
2013: Origins of a new world tour, Made in India,  Reunion Island.
2013: Still Fighting Ignorance and Intellectual Perfidy, Ben Uri Gallery, London; Malmö Konsthall, Malmö.
2013: Art Warning the World, Klaus Guingand, online.
2012: One Colour Screening, La Cinematheque Quebequoise, Quebec.
2012: Dak'art African Contemporary Art Biennale, La Gare, Dakar.
2011: One Colour, Pfeister Gallery, Bornholm.
2011: To Africanize is to Civilize, Paris Photo OFF, Paris.
2011: Festival Africain d'Images Virtuelles Artistiques (FAIVA) Residency Exhibition, Center Soleil d'Afrique, Bamako.
2011: Migrant-C, FNB Joburg Art Fair, Johannesburg.
2011: One Minutes Africa Awards, Townhouse Gallery, Cairo.
2011: FOCUS11: Contemporary Art Africa, Art Basel, Basel.
2011: Open Studio, Omi International Art Centre, New York.
2011: One Minutes Video Africa, Bamako.
2010: African Renaissance, World Festival of Black Arts International, Dakar.
2010: La Foire des Mascareignes, Le Port, Reunion Island.
2010: Dak'art African Contemporary Art Biennale, La Gare, Dakar.
2009: The Réunion Island Biennale of Art, Design, Création, Numérique et Immatérielle, Reunion Island.
2009: Vieme Jeux de la Francophonie, Beirut.
2009: African Renaissance: Africa is Back, Pan-African Art Festival, multiple venues, Algiers.
2008: 10th year Anniversary Raffle, Greatmore Studios, Cape Town.
2008: House Games Triennale, Anna Ruth and Juho Jäppinen's apartment, Jyväskylä.
2008: Tulipamwe International Artists Exhibition, Goethe-Institut Namibia, Windhoek.
2007: International Urban Workshop Exhibition, Thupelo, Cape Town.
2006 - 2007: Femlink International Video Collage, shown at venues worldwide, including Cinematic Lab, Bandung; Foundation of Contemporary Art, Montevideo; Cyber Arts Night Vision Festival, Massachusetts; Espace Dialogos, Cachan; Centre Videofemmes, Quebec and many more.
2006: Resident Artists Exhibition, Bag Factory Artists studios, Johannesburg.
2005: The 2nd East Africa Art Biennale (EASTAB), Dar es Salaam.
2005: International Painters Exhibition, Karnataka Chitrakala Parishek Gallery, Bangalore.
2005: Tomorrow Land, 11th Triennale India, New Delhi.
2003: Pond, Cochrane Street, Glasgow.
2001: Diplomatic Immunity, Times Square Gallery, New York City.
1999: Glasgow Art Fair, St Georges Square, Glasgow.
1999: Interim Show, Glasgow School Of Art, Glasgow.
1998: 6th Seychelles Biennial Of Contemporary Art, National Gallery, Victoria.
1997: Graduate Exhibition, Michaelis School of Fine Art, Cape Town.
1997: Preface, Centre For African Studies Gallery, Cape Town; Association for Visual Arts (AVA) Gallery, Cape Town.

Video Works

2011: They spoke different tongues, 2 channel, 15:00.
2011: L’Offrande, 01:00, (nominated for One Minutes Africa Prize).
2011: one color, 03:00.
2011: The return, 02:00, (commissioned by One Minutes Africa).
2009: Ephemeral, 08:00.
2008: Omada, video performance with music and dance, 08:00.
2007: Tragedy of a swing and a chair, 02:00.
2007: Histories, documentary, (commissioned by Right Now! Association, Mauritius).
2006: Power, 20:00.
2006: Perfect Match, video performance.
2005: Ravinal Man, 17:00.
2004: Counter Currents, synchronised video work.
2001: Gist, video with installation.

Collections and Commissions

Porlwi by Light Festival of Contemporary Culture, Mauritus.
Ministry of Arts and Culture, Mauritius.
Azuri Radisson Blue, Mauritius.
Okombahe Community, Namibia.
Lalit Kala Akademi, India.
Reinsurance Consultants, Mauritius & South Africa.
Holcim Cements, Mauritius.
Shields Mural Project, Peugeot Centre, Scotland.
Church House, Bridgeton, Scotland.
UCATT (Workers Union) March Banner, Scotland.
Isle of Arran Distillers, Scotland.
J.D.Weatherspoons Ltd, Glasgow and Edinburgh Branches, Scotland.
Hannibal (historic documentary), Channel 5, Wark Clements Productions, Scotland.
Citigate, Scotland.
McCabe Contemporary Art (Cecily Getty), South Africa.
Independent Outdoor Media, South Africa.


2012: Dak’Art 2012: 10e`me Biennale de l’art africain contemporain, Secretariat general de la biennale des arts, Dakar.
2011: FNB Joburg Art Fair 2011, Cobi Laubuscagne (ed), ArtLogic: Johannesburg.
2011: Migrant C, Nirveda Alleck (curator), Johannesburg.
2011: Fanzines, Focus Contemporary African Art, Basel.
2010: Dak’art 2010: 9ème Biennale De L'art Africain Contemporain, Secrétariat général de la biennale des arts, Dakar.
2009: Biennale Arts Actuels, Ecole Supérieure des Beaux-Arts: Reunion Island.
2009: 2009 Francophonie Games, Beirut.
2009: African Renaissance: Africa is Back, 2nd Pan African Festival, Zéhira Yahi (Arts and Culture Department), Algiers.
2009: Indian Diaspora International, Mahatma Ghandi Institut, University of Mauritus, Moka.
2007: International Urban Workshop Exhibition, Thupelo, Cape Town.
2007: Présent Immobile, La Citadelle, Port Louis.
2007: Art in Mauritius, Hans Ramduth (author), MGI Publication, Moka.
2007: 1st Salon d’Ete, National Art Gallery, Port Louis.
2006: Bag Factory Residents Exhibition, Bag Factory Artist Studios, Johannesburg.
2005: Tomorrow Land, 11th Triennale India, New Delhi.
2005: The 2nd East Africa Art Biennale (EASTAB), Yves Goscinny (author), La Petite Gallerie, Dar es Salaam.
2001: Diplomatic Immunity, UKwithNY Festival, New York City.
1998: 24 Artworks by selected South African Artists, McCabe Gallery Publication, Cape Town.

Awards and Prizes

2012: Emma Award for Arts and Culture, Bank One, Mauritius.
2011: FNB Art Prize Finalist, FNB Joburg Art Fair, Johannesburg.
2011: 'One Minutes Africa' Nominee, Townhouse Gallery, Cairo.
2011: Francis J Greenburger Fellowship, Omi International Arts Centre, Ghent.
2011: Recipient, International Artist Scheme Grant, Ministry of Arts and Culture, Mauritius.
2010: Soleil d’Afrique Prize, Dak'art African Contemporary Art Biennale, Dakar.
2008: HIVOS Sponsorship, Tulipamwe International Artists Workshop and Exhibition, National Art Gallery of Namibia, Windhoek.
2004: Selected for ‘1er Fond D’Aide au Développement du Film’, Mauritius Film Development Corporation, Mauritius. 
1999: Postgraduate Scholarship, Glasgow School of Fine Art, Glasgow.
1998: Most Promising Young Artist Award, 6th Seychelles Biennial of Contemporary Art, National Gallery, Victoria.
1997: Dean’s Merit List, Michaelis School of Fine Art, University of Cape Town, Cape Town.
1994: Edward Louis Ladan Bursary used for undergraduate studies in fine art, Michaelis School of Fine Art, University of Cape Town, Cape Town.

Residencies and Workshops

2011: Soleil d’Afrique Residency, Centre Soleil d'Afrique, Bamako.
2011: Omi International Artists Residency, Art Omi, Ghent.
2011: One Minutes Africa workshop, Centre Soleil d'Afrique, Bamako.
2009: Biennale Arts Actuels Residency, Ecole Supérieure des Beaux-Arts, Reunion Island.
2009: Vieme Francophonie Games Painting Workshop, Beirut.
2009: Indian Diaspora International Workshop, Mahatma Ghandi Institut, Moka.
2008: Tulipamwe International Artists Workshop, Goethe Institut Namibia,Windhoek.
2007: Artist in Residence, Greatmore Studios, Cape Town.
2007: Thupelo International Workshop, Ruth Prowse School of Art, Cape Town.
2006: Artist in Residence, Bag Factor Artist Studios, Johannesburg.
2005: International Painters Camp, Karnataka Chitrakala Parishek, Bangalore.
2004: Scriptwriting workshop with Mama Keita, Mauritus Film Development Corporation, Vacoas-Phoenix.
2001 - 2002: Artist in Residence, St Patrick’s Primary School, Glasgow.

Other Projects

Chair, Arterial Network, Mauritius Chapter, Port Louis.
Co-ordinator, The Landing of The Dodos public art project, Quatre Bornes.
Project Leader, Migrant-C: Mauritius Indian Ocean Artists Collective, Mauritus.

Professional Experience

2013: Visiting Lecturer, Experimental Video, Visual Art and Digital Arts, University of Mauritius, Moka.
2012: One Day Create, Outdoor Creative Art Classes, Casela Nature Parks, Black River.
2012: Visiting Lecturer, Critical Issues on Contemporary Art, Mahatma Gandhi Institute, University of Mauritius, Moka.
2011: Arts Consultant, Aapravasi Ghat World Heritage Site, Port Louis District.
2008 - 2009: Lecturer, Mauritius Institute of Education, Moka.
2006: Visiting Lecturer, Painitng, Mahatma Gandhi Institute, University of Mauritius, Moka.
2004 - 2008: Education Officer, Ministry of Education and Human Resources, Vacoas-Phoenix.
1998-1999: Community Arts Teacher, Coatbrigde Community Centre, Glasgow.