Brendhan Dickerson

b. Johannesburg, 1968. Lives in Switzerland.

Brendhan Dickerson’s satirical sculptures draw influence from politics and popular culture. He is particularly interested in interactive and kinetic sculpture.

Art Education

1995 Graduated with distinction, Masters in Fine Art (sculpture), University of Cape Town.
1991 Graduated with distinction, BA in Fine Art (sculpture), University of Cape Town.

Exhibitions (solo)

2007 Living conditioned,Erdmann Contemporary,Cape Town.
2004 Suspended Disbelief,Association for the Visual Arts,Cape Town.
1997 A Carnival Show,AVA,Cape Town.

Exhibitions (group)

2010 Recent and New Works, Erdmann Contemporary, Cape Town.
2005 South African Art 1840 – Now, Michael Stevenson, Cape Town.
2000 Cast, Albertyn Stables Art Gallery, Simon’s Town. A Celebration for Bringing New Hope, Bell-Roberts Fine Art Gallery, Cape Town.
1998 SA Sculpture Today, Oudtshoorn Festival.
1996 Four Young Artists, Newtown Gallery, Johannesburg.

Exhibitions (international)

2008 Myerson Fine Art, Menier Gallery, London. Paul Smith, Albermale Street, London.
2001 Fire-sculpture performance on the Rhine,Basel , during a three month residency in the IAAB International Artist Exchange Programme.
1998 Lifetimes: An exhibition of South African Art, Out of Africa Festival,Munich.
1995 International Exhibition of Art Colleges, Hiroshima.

Fire Sculpture Performances

2008 (untitled), launch of The Gordon Institute, Hiddingh Campus, University of Cape Town.
2007Succession Debate Art Seasons South Africa, Paarl. Later extended and performed in District Six, Cape Town as part of X-Cape; Cape 07 Biennial.
2005 Klein Karoo Kunstefees.From Father to Son Grahamstown Festival and Aard-Klop arts festival, Potchefstroom.
2002 With improvised trumpet and percussion, launch of the Spier Outdoor Sculpture Biennial.
2001 Diner’s Club Joubert Park Public Art Project, Johannesburg.


2006-2009: Sculpture Lecturer (part time), Fine Art Department, University of Stellenbosch.
2003 Arts and Crafts Instructor at the Estuary Centre, Swords, Co Dublin, Ireland. Designed and implemented a ceramics programme for mentally handicapped adults.
2002 Guest lecturer, Wits School of Arts, University of the Witwatersrand, Johannesburg.
1999-2000: Lecturer, Michaelis School of Fine Art, University of Cape Town.
1999 Not For Sale, a collaborative musical event at the Independent Armchair Theatre, Cape Town, featuring improvisations on wrought iron percussion sculpture. Accompanied by double bass.
1998 Contributed to Public Eye’s Heritage Day Public Sculpture Intervention Project: Caged stone lions at Rhodes Memorial, with metal scroll: From Rape to Curio.
1995 -1997: Lecturer, Michaelis School of Fine Art, UCT.
1996 Consultant and facilitator to the “Sculptures in Wood” project, Association for the Visual Arts, Cape Town.
1994 Mentor to craft development projects, Small Business Development Corporation, Cape Town.
1992 -1993 Co-ordinator, product developer and trainer, Montebello Design Centre, Cape Town.
1992 Established and ran a blacksmith’s forge, Montebello Design Centre.
[accordion title='Commissions']
2008 The Gordon Institute.
2007 Art Seasons South Africa.
2005 Grahamstown Festival.
2002 Spier.
2001 Joubert Park Public Art Project.


1995 Merit Award, International Exhibition of Art Colleges, Hiroshima.


IDASA, South African National Gallery, Johannesburg Art Gallery, Durban Art Gallery, Oppenheimer Collection, Wooltru, SAB Miller, Webber-Wentzel Bowens, Sandton Hilton, Vodacom, Old Mutual,J.P. Morgan.


Burning Museum

“The Burning Museum is a collaborative interdisciplinary collective rooted in Cape Town, South Africa… We are interested in the seen and unseen, the stories that linger as ghosts on gentrified street corners; in opening up and re-imagining space as potential avenues into the layers of history that are buried within, under, and between.”

Burning Museum Blog (click here)

Please not that this tab is under construction

“TO LET” , Palimpset from “TO LET” exhibition 2013

TO LET from Burning Museum on Vimeo.

Burning Museum feature on “Tracks”
Published on May 16, 2015
Politische Streetart aus Südafrika: Das Monster Gentrifizierung macht auch vor Kapstadt nicht halt. Zum Glück stellen sich die Künstler von Burning Museum dagegen: mit Kleisterbildern von Apartheid-Opfern.
The Mission and the Message: ‪#‎colonialproblems‬

Burning Museum – #colonialproblems (2015) from Burning Museum on Vimeo.

Selected images from “TO LET” exhibition , Centre for African Studies – September 2013


Solo Exhibitions

2015 Cover Version, Gallery MOMO, Cape Town
2014 Manufractured activation with Artefakte Aktivierung, Northern Suburbs Train line, Cape Town and Cafe Art, Stellenbosch
2013 "TO LET" , Centre for African Studies Gallery, University of Cape Town

Group Exhibitions

2015 Boundary Objects. Madrid, Spain.
2015 Boundary Objects/ KÜNSTLICHE TATSACHEN, Kunsthaus Dresden. Dresden, Germany.
2015 Fortunes Remixed, Group exhibition, Bag Factory Art Studios. Johannesburg, South Africa
2015 Fortunes Remixed, Group exhibition, Underculture Contemporary. Port Elizabeth, South Africa
2015 Fortunes Remixed, Group exhibition, Art South Africa gallery. Cape Town, South Africa
2014 "Plakkers" - Brundyn+. Cape Town.
2014 Joburg Fringe video screening, Maboneng Precint, Johannesburg
2014 "Bring your own beamer" - Brundyn & Goncalves
2013 Greatmore Showcase
2013 Cape Town ArtWalk - Collaboration with "Future Nostalgia" as "Future Museum"


Dathini Mzayiya

b. Queenstown, Eastern Cape, South Africa, 1979. Lives in Cape Town.

Dathini Mzayiya skillfully blends drawing and painting in his striking renditions of everyday subjects.


© Mario Pissarra, 30/01/2006

Image: Dathini Mzayiya “Rewinding at the End of the Day II” 2005

Umsi (the smoke) is a group exhibition featuring Lindile Magunya, Ndikhumbule Ngqinambi, Thulani Shuku, Dathini Mzayiya, Lonwabo Kilani, and Vivien Kohler. Inspired by Magunyas “documentation of the ongoing burning of the shacks in his area”; the artists share a “common concern around the housing problems in the Western Cape [and are] questioning the ongoing burning of the informal settlements”. They believe that through coming together they can “voice these social issues louder than an individual can.” The motivation for collective action is also a practical one. The artists, who between them have studied at every local institution accessible them, primarily NGO’s, colleges and workshops, “decided to create our own opportunities [to build] our group career as well as our individual careers [due to] the gap …between galleries and emerging artists, and … the lack of resources for …solo exhibitions” Guided by emerging curator Vuyile Voyiya, who has been mentor to the group, these paintings come from a workshop held last year as well as from works produced subsequently.

Magunya provides the most explicit interpretation of the theme with The Cries and Abandon, which utilises a simple but effective split frame composition. Generally he does a decent job capturing the texture and character of objects but he struggles with resolving the tension between the pictorial representation of debris with the production of sophisticated commodities (art). His solutions: to simulate through paint on canvas the illusion of a torn edge, or to physically severe edges of his board and to present them in black tomato boxes, were perhaps better ideas than results. In particular the sawn edges appear contrived, and he may have been better served by painting on real debris.

Mzayiya, particularly with his two paintings titled Rewinding at the End of the Day, presents a less direct take on the theme by addressing the need for social spaces for dialogue. His larger than life seated figures are wedged into corners and pressed against walls, their shadows emphasising their marginality. He demonstrates both graphic and gestural sensibilities but the overall result is essentially realist in its convincing representation of ordinary people in everyday guise.

Ngqinambi creates an extraordinary interplay between a tightly modelled naturalism, seen primarily in his figures, with his painterly treatment of the natural elements where the boundaries between land and sky are as fluid as the shifts between the evocation of a deep illusory space and the affirmation of a flat painted surface. Consequently his figures occupy a liminal space that communicates a sense of waiting. A series of small paintings highlights the artist’s ability to skilfully evoke epic narratives without resorting to large scale.

Kilani demonstrates an impressive proficiency for drawing. His birds eye perspectives on solitary sweeping men are extremely effective. The contrast of fairly acute illusory space with flat, textured ground is a striking compositional device that establishes a sudden sense of finding oneself on the precipice of a silent excavation. However as a painting the flat ground lacks interest and suggests that it is the second hand repository of an idea, rather than a painterly resolution of the artistic process.

Kohler combines an unusual method of painting in oils on tile grout, with a more orthodox painting technique that constitutes a painterly realism. He incorporates rusted, found objects, generally separating them from the painted areas. A convincing painter he should be wary of concepts that come uncomfortably close to cliché: his visual realisation of roots as rusty being an example.

While most artists reveal strong graphic inclinations Shuku is undisputedly more painter than anything else. His gestures are almost flamboyant, a ‘wild’ emotive style that communicates urgency, chaos, disintegration and fragmentation. He is less successful in his inclusion of small, circular, decorative details, presumably as a contrast to his audacious, explosive brushstrokes, as these come across as superfluous doodles that add little value to his works.

Overall Umsi is a coherent and inspiring group exhibition. It boldly affirms the relevance of painting for an emerging generation who are determined to make their mark as socially concerned and professionally motivated artists.

Mario Pissarra 30 January 2006

[All quotes come from artists’ statements accompanying the exhibition.]

NB An edited version of this review appeared in Art South Africa vol 4 no 3, 2006

Portrait of a Revolutionary edited by Nadine Cloete For African Noise Foundation. 

Umfanekiso ( Reflections)
Filmed by Dathini Mzayiya, edited by Caleb Heymann South Africa for the One Minute Video Festival.2008



2001 Community Arts Project, Woodstock, Cape Town, South Africa.
2000 Graphic design and advertising, Cape Peninsula University of Technology, Cape Town.
1999 Advertising and Marketing, Advertising College of South Africa, Cape Town.

Workshops & residencies

2015: Studio 147 Residency, Cape Town.
2009: Glenfiddich Artist in Residence, Glenfiddich Distillery, Dufftown, Scotland.
2007: Arts and Media Access Centre (AMAC) students Workshop by City Skin design, resulting in a mural at the lower cable station, Table Mountain, Cape Town.
2006: National Heritage Council, African Art Museum, Debre Zeit, Ethiopia.
2006: Umsi (The smoke) painting workshop, Castle of Good Hope, Cape Town.
2005: Mural Global Agenda 21 under UNESCO, Inda Gymnasium, Aachen, Germany.
2005: Mural Global Agenda 21 at the train station, Aachen-Schanz, Germany.
2005: Mural Global Agenda 21, Khayelitsha Training Centre, Cape Town.
2005: Mural Global Agenda 21, Swop painting workshop with students from Mitchells Plain, Manneneberg and Khayelitsha, Luhlaza High School, Khayelitsha, CapeTown.
2005: Mural Global Agenda 21, Painting workshop with AIDS-affected children from the Fikelela Children’s Home, Khayelitsha, Cape Town.
2004: Thupelo Workshop, Iziko South African National Gallery (Annexe), Cape Town.
2002: Thupelo Artists Workshop, Annexe, Iziko South African National Gallery, Cape Town.
2002: Ukuzoba (To draw): From Representational Painting to Abstraction, Community Arts Project, Woodstock, Cape Town.
2002: Ukuzoba (To draw) public workshops, Baden, Austria; Villach, Switzerland, and Berlin (with Trish Lovemore and Boyce Magandela)
2002: Mural painting workshop, Nomlingaliselo Primary School, New Crossroads, Cape Town (with Sipho Hlathi, Lonwabo Kilani and Ndikhumbule Ngqinambi).

Solo exhibitions

2013 Onder die Reenboog Strale, Greatmore Studios, Cape Town.
2005 Pop-up exhibition, BBK Gallery, Aachen.

Group exhibitions

2020: Untitled 24.09, Gallery Fanon, Johannesburg.
2019: Kulcha Festival, St John’s College, Johannesburg.
2017: Athlone in Mind, Cape of Good Hope, Cape Town. 
2018: Still Life and Life Drawings: A Moment Captured or Preserved?, Iziko South African National Art Gallery, Cape Town.
2016: The Art of Humanity, The Pratt Institute, New York.
2016: People You May Know, Factory of the Arts, Cape Town.
2016: #SITDITAF, North West University Gallery, 
2015: Imago Mundi: The Art of Humanity, Rome.
2015: Map of the New Art, Fondazione Giorgio Cini, Venice. 
2014: Imago Mundi: The Art of Humanity, Treviso.
2011: Kadafi, The Bag Factory, Johannesburg, South Africa.
2010: The Glenffidich Artist in Residence, The Rainbow Experience Gallery, Mandela Rhodes Place, Cape Town.
2010: Nothing is Everything, Word of Art, Woodstock Industrial Centre, Cape Town.
2010: Ityala aliboli/Debt don’t rot, Goodman Gallery, Johannesburg.
2010: Milestones, Greatmore Studios, Woodstock, Cape Town.
2010: 30 x 30 artists, Gill Allderman Gallery, Kenilworth, Cape Town.
2010: Botaki Contemporary African Art, Albany Museum, Grahamstown; Mecufe Festival, Bloemfontein, South Africa.
2009: Umahluko, Cape ’09, Lookout Hill, Khayelitsha, Cape Town.
2009: Dada South, Iziko South African National Gallery, Cape Town.
2009: Untitled exhibition, Glenfidich Distillery, Dufftown, Scotland.
2008: Milk Can Art Project, 34 Long Street Art Gallery, Cape Town.
2008: Winter Open Studio, Greatmore Studios, Woodstock, Cape Town.
2007: Africa south, Association for Visual Arts, Cape Town.
2007: Nine South African Artists, Sandton Convention Centre, Johannesburg.
2006: Umsi/Smoke, AVA, Cape Town.
2006: Nine South African Artists, Hilton Hotel, Addis Ababa, Ethiopia.
2005: Atelier Haus Aachen Gallery (with Thulani Shuku), Aachen, Germany; Austria and Switzerland.
2004: Artwork Project, Chat Room Communication and Marketing, Cape Town.
2004: Studio exhibition (with Thulani Shuku), Mowbray, Cape Town.
2004: Live Action Painting on Canvas, Cape Town Festival, Company’s Gardens, Cape Town.
2003: Art Angels, Gardens Presbyterian Church, Gardens, Cape Town.
2003: Angels without Wings, Cape Of Good Hope Castle, Cape Town.
2003: Vision, Castle of Good Hope, Cape Town.
2003: Workshop exhibitions (with Boyce Magandela and Trish Lovemore), Maria: Wörth, Reifnitz, Lienz and Kitzbuhel, Austria.
2002: Absolut Secret 7: Absolut Voyeur, AVA, Cape Town.
2002: Members exhibition, Association for Visual Arts (AVA), Cape Town.
2002: Galerie Halde 14, Balden, Switzerland.
2002: Why Cry?, Greatmore Studios, Woodstock, Cape Town.
2002: Ukozoba (To draw) workshop exhibition, Iziko South African National Gallery (Annexe), Cape Town.
2002: Thupelo workshop exhibition, Iziko South African National Gallery (Annexe), Cape Town.
2001: Afro metamorphosis’, Community Arts Project (CAP), Cape Town.

Gugulective Exhibitions

2014: Gugulective Arts Collective exhibition during Creative Week 2014, KwaMlamli’s Place, Gugulethu, Cape Town.
2010 1910-2010: From Pierneef to Gugulective, Iziko South African National Gallery, Cape Town.
2009: Subversion, Gugulective Arts Collective exhibition, Harbour, Hamburg, Germany.
2008: South Africa Performs, HAU Theatre, Berlin (As part of Gugulective Arts Collective and with other global collectives)
2007: Akuchanywa Apha (No pissing), Gugulective, KwaMlamli’s Place, Guguletu; Blank Projects, Cape Town.


Youth Veteran Award from Khayelitsha Youth Development Forum (KYDF), Cape Town.


Foreign Press Centre, Cape Town
Chris Barnard Heart Centre, UCT
Villach Town Hall, Austria
Private collections in South Africa and Europe

Donovan Ward

b. Cape Town, 1962. Lives and works in Cape Town.

Working innovatively with found objects, images, text and paint, Donovan Ward provocatively addresses issues of globalisation and identity.

Barbie Bartmann: Homecoming Queen [review]

© Mario Pissarra, 1/06/2005


English critic Mathew Collings says that art today is little more than a sound-bite, and he can’t recall when last he was seriously ‘challenged’ by an artist’s work. Ward’s latest exhibition, a series of Barbie dolls modeled on Sarah Bartmann, which are (mostly) dressed individually and displayed for sale on a glass shelf, tests Collings’€™ ideas. One could quickly construct not one but several soundbites: the displacement of a Eurocentric ideal by an Afro-centric one; the transformation of Sarah Bartmann into a symbol, an icon, and consequently a commodity; an iconoclastic, ‘lite’€™ treatment of a serious subject… Viewed as sound-bite art one can imagine offence being taken at this latest objectification of an already objectified, tragic figure, and Ward may be treading on dangerous grounds here. But Ward is a challenging artist: he makes art using the most unlikely of materials (‘painting’ with cement, for example); and over the last year alone his work could be mistaken as that of at least three different artists. Not least Ward is concerned with critical issues such as globalization, history, culture and identity; and refuses to make, as he puts it, “€œsanitized narratives.”

Ward interprets Bartmann as both victim and agent, and links these ideas to contemporary South African identities. The result is provocative: you are required to make the leap between a historical figure and a metaphor of displacement and repatriation, as well as of fragmentation and unity; and individual Barbies raise different questions. ContemporaryArtist, who is naked, raises the distinctions between Bartmann’€™s display as an exotic, sexualized object in colonial Europe and representations of the body by contemporary female artists. Examples such as Gay Barbie have little obvious relationship to their title, suggesting the importance of naming in conferring identities. Some Barbies highlight multiple, dynamic identities: a picketing figure refers to the crisis in the textile industry (Miss Spring Queen 2004). Then there are Barbies that seem to defy stereotypes but are actually spot on, such as NGO Barbie who reminds me of dolly comrades that do really exist. The invite, an image of Sandy Bay Barbie photographed on the beach suggests that contexts impact on identities. Clearly there is more going on here than can be done justice in 375 words, never mind a sound-bite.

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

Conversations with Donovan Ward [catalogue essay] – Mario Pissarra, 6/06/2005

This essay featured in the catalogue for Botaki Exhibition 3: Conversations with Donovan Ward, an exhibition curated by Mario Pissarra for Old Mutual Asset Managers, Cape Town, 2005

Open article

Coloured by the Other

© Donovan Ward, 03/04/2012

Ideally art is a space for exploration, playing and learning. This work is the antithesis of creativity as its producers abdicate their individualised voices to work within a predetermined framework. This work is presented as a primed, colour by numbers canvas with a portrait, in black line, of an influential, powerful recognisable person who €œspeaks for government and who has gained notoriety for his racialised comments. The lines mark out areas where 10 premixed colours are to be applied. Each area is numbered to correspond to the supplied colours. Viewers are invited to assist in sequentially painting it by referring to the colour code and painting instructions. The completed painting reveals this subject’s altered identity. The restrictive, predictable method and outcome of production also metaphorically illustrates the simplistic way people are essentialised or constructed by power elites .

Donovan Ward,
Ingekleur: Outside The Lines The AVA Gallery, Cape Town l 12 March – 4 April 2012

Guguletu Seven Memorial

© Donovan Ward & Paul Hendricks, 15/03/2006

On 3 March 1986 in the township of Guguletu, seven youth were murdered by the South African state. The Guguletu Seven memorial, dedicated to these seven youth who lost their lives during the liberation struggle, is located in close proximity to where the killings occurred. The memorial is built from Rustenberg granite, steel, screws, tile adhesive, bronze, bricks, cement and concrete. The sculpture represents a discontinuous wall like structure. The seven figures cut out from the concrete and granite slabs speak to the seven families and the nation’€™s loss. The poses representing the seven youth are suggestive of play, dance and resistance, as it seeks to capture their humanity and spirit despite their absence. Their silhouetted forms are derived from the stenciled and spray-can art of the 1980s. On the supporting plinth, beneath each figure, is a bronze plaque with information on it dedicated to one of the youth. Each one of the seven youth are represented in this way. The bronze plaques do not all bear portraits and dates of birth (due to the non-availability of personal details of certain of the youth). Each of the seven plaques however contain the name and date-of-death of the youth. The layout and wording of the plaques are styled on the silk-screened type commemorative posters of the 1980s. The work pays tribute to and commemorates those who made the ultimate sacrifice to build a better South Africa and indeed world. The work is also representative of nation building, as it displays elements of ruin or incompleteness juxtaposed with areas that appears to have been recently built, thus echoing the Nicaraguan woman poet Vidaluz Meneses message: “Pain has been our challenge and the future our hope. We build as though composing a poem: writing, erasing, and creating anew”. These words reflect the spirit of the memorial, as it captures elements of completeness and incompleteness; ruin and visible structure, regularity and irregularity, asserting graphically and symbolically potential, possibility and hope.

Donovan Ward & Paul Hendricks Details of image: Finished drawing for Memorial

Barbie Bartmann: Homecoming Queen

© Donovan Ward, 11/12/2005

Generalized representations become fixed within a culture and conceptualized as if ‘true’€™ because constant repetition in a variety of forms and locales validate the oft repeated image and lends credibility to mytholised forms. Barbara Buntman, Whose Identity do we see? Born in 1789 in the vicinity of the Eastern Cape, Sara Bartmann lived for a short period as a slave near Cape Town. Baptised in in 1811 as Sara Bartmann, a ‘Hottentot’ from the Cape Colony, her indigenous name is unknown to us. It was in England and later Paris that Sara Bartmann was displayed as a sexualized exotic object, and subjected to medical and anthropological scrutiny. In Paris she allegedly lived as a prostitute, and after her death there in 1818 her dissected body was displayed at the Musee de l’Homme as a museum curiosity. It was only 184 years later, in 2002, that her remains were repatriated to her homeland, where she was buried as a Khoisan woman near the little town of Hankey . Sara Bartmann has become a controversial and contentious historical figure, as many groups and individuals claim the right to represent her, and have contested the various roles she apparently assumed. Sara Bartmann most probably belonged to the Gonaqua tribe, and was called many things in her lifetime. These included a ‘€˜slave’€™, ‘€˜Hottentot’€™, ‘€˜showgirl’€™ and ‘prostitute’€™. Presently she continues to be labeled an ‘exotic aboriginal woman’, ‘Khoisan woman’€™, ‘ouma’€™, ‘mama’, and ‘€˜mother of the nation’€™. This work attempts to explore the complexity of an African Identity as it relates to Sara Bartmann. It challenges stereotypical representations of community and fixed identities associated with race, class, culture and language. While on the one hand this work acknowledges Sara Bartmann as a national icon symbolizing South Africa’s fragmented history, I also selected her image to highlight the manner in which historical images and symbols have been appropriated and commodified in a world of commercial interests.

Donovan Ward

The Corporate Garden

Power in its various forms often overrides as well as mimics ethical and environmental interests. This artwork informs and is informed by my ongoing observations of dislocation, erasure and substitution.

Past land theft and new forms of dispossession, particularly gentrification, the desecration of burial sites by property developers, and more generally the erasure of physical memory, one that connects people to history, are engaged with in varying degrees in this artwork. Alluded to in this piece as well, are forms of real estate development, which corresponds with global neo-liberal models that drive ‘development’ projects but are disproportionately harmful to the environment and human beings.

Made from fabricated, organic and inorganic objects, this art piece, the size of a grave, constitutes a landscape embodying contradiction, contrast and paradox. The fictitious sections of the work include plastic flowers, razor wire, cement, and a synthetic lawn used at burial ceremonies superimposed on indigenous flora and fauna. Remnants of the natural environment were collected from the lower slopes of Table Mountain, close to an encroaching residential area, and incorporated into the work; they include bone fragments, dead insects, stones, bits of dried indigenous plants, leaves and gravel.

Through juxtaposing the artificial with the real and superimposing the synthetic over the natural, this work speaks to the displacement of the natural and native by imitation and simulation. It, moreover, points to the paradoxical role of technology in exposing yet furthering the ‘dis-placement’ and ‘re-placement’ of the natural and indigenous with simulated fictive environments.

Donovan Ward

Art Education

1991: Part-time (sculpture), Community Arts Project, Woodstock, Cape Town.
1982-1985: Ruth Prowse School of Art, Salt River, Cape Town.

Workshops & Residencies

2019: Sans Frontier, Hardground Printmakers, Association for Visual Arts, Cape Town.
2016: Sans frontiers, Hard Ground Printmakers, The Home Coming Centre, Cape Town.
2015: In Print/In Focus, Michaelis Gallery, University of Cape Town, Cape Town.
2013: Local Artists Public Artmaking Project, Lentegeur Civic Office, Mitchells Plain,  Cape Town.
2009: Drakenstein Remembers June 16 Visual Art Workshop, Cape Winelands, Western Cape. 
2004: 10, Castle of Goodhope, Cape Town.
2002: Spirit of the Place, Bangor, Wales.
1995: Thupelo Workshop, Cape Town.

Solo exhibitions

2014: Brutalised Barbie, Association for Visual Arts, Cape Town.
2005: Barbie Bartmann: Homecoming Queen, Association for Visual Arts, Cape Town.
2002: Ash, Dust and Trade Marks, Bell-Roberts Gallery, Cape Town.
1998: Residues and Emergences, Mau Mau Gallery, Cape Town.

Group exhibitions (local)

2019: There and back to see how far it is, Association for Visual Arts, Cape Town.
2016: Beyond Binaries, Essence Festival, Durban.
2015: In Print/In Focus, Michaelis Gallery, University of Cape Town.
2012: Ingekleur: Outside the Lines, Association for Visual Arts, Cape Town.
20011-12: Natural Selection, Association for Visual Arts, Cape Town.
2010: View from the South, Everard Read Gallery, Cape Town.
2009: In Black and White, Bell-Roberts Gallery, Cape Town.
2009: Sex Power Money, Everard Read Gallery, Cape Town.
2009: Wood, Association for Visual Arts, Cape Town.
2007: ReCenter, X Cape, Look Out Hill, Khayelitsha, Cape Town.
2007: Africa South, Association for Visual Arts, Cape Town.
2007: Greenhouse: From Painting to Plastic, Bell-Roberts Gallery, Somerset West, South Africa.
2006: Anthology, Everard Read Gallery, Cape Town.
2006: 20 artists 06, Bell-Roberts Gallery, Cape Town.
2006: 20 artists 06, Art on Paper Gallery, Johannesburg.
2005: Botaki Exhibition 3, Old Mutual Asset Managers, Cape Town.
2005: Man, Rust-En-Vrede Gallery, Cape Town.
2004: Upfront and Personal, Iziko South African National Gallery, Cape Town.
2004: Botaki, Old Mutual Asset Managers, Cape Town.
2004: Art Cool, Bell-Roberts Gallery, Cape Town. 
2004: Gender and Visuality, University of the Western Cape, Bellville.
2004: 10, Everard Read Gallery, Cape Town.
2003: Supermarket, Klein Karoo Nationale Kunstefees, Oudtshoorn, South Africa. 
2001: Telling Tales, 3rd I Gallery, Cape Town.
2000: Allsorts, Bell-Roberts Gallery.
2000: Praat, Thetha, Talk, Idasa Gallery, Cape Town.
2000: One City Festival, Returning the Gaze, Public Art Project, Cape Town.
1999: Prophecy 2000, 3rd I Gallery, Cape Town.
1999: New Beginnings, Battswood Art Centre, Grassy Park, Cape Town.
1998: Dis Nag, Iziko South African National Art Gallery, Cape Town.
1998: Urban Objects of Desire, Mau Mau Gallery, Cape Town.
1998: Ekhaya, Tsoga Environmental Resource Centre, Langa, Cape Town.
1997: District Six Public Sculpture Project, District Six, Cape Town.
1997: The Legacy of Steve Biko, District Six Museum, Cape Town.
1997: Committees Choice, Association for Visual Arts, Cape Town.
1996: Barricaded Rainbow…,  Centre for African Studies, University of Cape Town, Cape Town.
1996: 5 Cape Artists, Iziko South African National Art Gallery, Cape Town.
1996: Beyond the Rainbow, Athlone Civic Centre, Cape Town.
1995: Outsider Art, Market Gallery, Johannesburg.
1995: Volkskas Atelier Award National Exhibition, University of Stellenbosch.
1995: Volkskas Atelier Award Regional Exhibition, South African Association of Arts, Cape Town.
1994: Man on Woman, Seeff Trust Art Gallery, Cape Town.
1993: The Art of Peace, Seeff Trust Art Gallery, Cape Town.
1991: Community Arts Project Exhibition, Woodstock, Cape Town.
1990: Pieces of Africa, Athlone Technical College, Cape Town.

Group exhibitions (international)

2007: Apartheid/ the South African Mirror, Centre de Cultura Contemporania de Barcelona, Spain.
2007: Uniform: South Africa’s New Clothes, Spanierman Modern, New York.
2007: The Art of Revolution, Saba Cultural and artistic Institute, Tehran.
2002: DAK’ART 2002 Biennale, Dakar, Senegal.
2001-2003: Spirit of the Place, Bangor, Wales.

Other projects

2019-2020: Exhibition Designer, Robben Island Museum, Cape Town.
2018-19: Mural Artwork Coordinator, Pelican Park Community Day Centre, Cape Town.
2017-18: Exhibition Designer, Robben Island Museum Restoration Project, Cape Town.
2016: District 6 Clinic Art Workshop, Facilitator District 6 Museum, Cape Town.
2015-1016: Project Manager & Exhibition Designer, Delville Wood Transformation Project, France.
2013: Artwork Coordinator & Facilitator, Lentegeur Civic Office, Mitchells Plain, Cape Town.
2009: Artwork Coordinator and Facilitator, Drakenstein Remembers June 16 Visual Art Workshop, Cape Winelands, Western Cape.
1999: Anti Racism mural (in collaboration with artists and learners), Landsdowne Public Library, Cape Town.

Public collections

Iziko South African National Gallery, Cape Town.
Durban Art Gallery, Durban.
Delville Wood South African National Museum, Longueval, France.
University of South Africa, Pretoria.

Private collections

ESKOM Art Collection
The Ellerman House Collection
The Earl of Spencer Collection
Annette and Peter Nobel Collection


2016: Devils Wood, Delville Wood South African National Museum, Longueval, France.
2011: UDF Memorial, Rocklands Civic Centre Mitchells plain, Commissioned by the City of Cape Town[ In collaboration with Paul Hendricks].
2011: Ashley Kriel Memorial, Community House, Salt River, Cape Town.
2010: Building and Wood Workers International, Trophy Design.
2009: Media & Labour Award Design, Workers World Media Productions.
2006: Meru, Artwork Commission, Safmarine.
2006: Basil D’Olivera Memorial, Sunday Times Heritage Project, Newlands Stadium, Cape Town.
2005: 20 Artists 06, digital print, Bell-Roberts Gallery.
2005: Gugulethu 7 Memorial, in collaboration with Paul Hendricks, Provincial Government &amp and City Council .
2004: Art Cool, LG electronics.
2002: Book cover, International Labour Resource & Information Group.
1995: Right to Work, mural/ large painting on board, WLP, with Paul Hendricks.

Publications (catalogues)

2020: Segregation, Inequality, and Urban Development, Sara Dekhordi, Pollux, Open Access Publication.
2015: Biko’s Ghost, Shannen Hill, University of Minnesota Press.
2011: Visual Century, Vol.4, Wits University Press & the Visual Century Project.
2010: NY Arts,Vol 15, Fall, 2010.
2010: Press Art Sammlung Catalogue, Annette and Peter Nobel Collection.
2009: Public Sculpture, Statues & Memorials ….An Ibhabhathane Project
2007: Apartheid / The South African Mirror, Exhibition Catalogue
2007: From Weapon to Ornament, John Bernt, AMAC Heritage Series
2005: Mario Pissarra, Botaki Exhibition 3, Old Mutual Asset Managers, Cape Town.
2004: Mario Pissarra, Botaki, Omam, Cape Town.
2004: 10, Everard Read. Art Cool. Upfront and Personal.
2002: Dak’ art: Biennale de l’ Art Africain Contemporain, Dakar.
2001: Spirit of the Place exhibition catalogue. 
2001: Returning the Gaze Public Arts Project exhibition catalogue. 
1997: District Six Public Sculpture Project Catalogue
1997: The McCabe Gallery Catalogue
1997: Volkskas Atelier Award Catalogue

Publications (reviews)

2005: M. Pissarra, Donovan Ward, Art South Africa Vol. 4 Issue 1, p. 83.
2004: M. Pro Sobopha, 10, Art South Africa Vol. 2 Issue 4, p. 72.

Publications (other)

2003: Africa e Mediterraneo, Issue 41. 2001: M. Pro Sobopha, Returning the Gaze, NKA Journal of Contemporary Art, 13/14, pp. 56-61.

Awards/ Prizes

1993: First prize, The Art of Peace, Seef Trust Art Gallery, Cape Town.

Awards/ Grants

2002: Cape Tercentenary Foundation


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


b. 1979, Cape Town, Lives in Los Angeles, the Unites States of America. 

Faith47 is a street and studio-based artist living in Los Angeles. Using a wide range of media, including graphite, spray paint, oil paint, ink, photography and collage, her approach is explorative and substrate appropriate – from found and rescued objects, to time-layered and history-textured city walls and their accretions, to studio prepared canvas and wood. Her murals can be found in many cities in Europe, the USA, Africa and Asia.

Solo Exhibitions

2018: Elixir, Fabien Castanier Gallery, Miami.
2015: AQUA REGALIA, Jonathan Levine Gallery, New York. 
2014: Aqua Regalia, London, UK
2013: Fragments of a burnt history, David Krut Gallery, Johannesburg.
2009: Epitaph, Mrego, Brussels. 
2008: The Restless Debt Of Third World Beauty, Atm Gallery, Berlin.
2008: The Restless Debt Of Third World Beauty, The Woom Gallery, Birmingham, UK

Group Exhibitions - International

2020: One World, Fabien Castanier Gallery, Miami. 
2020: Unprecedented Times, Kunsthaus Bregenz, Vienna.
2019: 20 Year Anniversary Exhibition, Cory Helford Gallery, Los Angeles.
2019: Together, KP Projects Gallery, Los Angeles.
2019: Conquête Urbaine, Calais Museum of Fine Art, Paris. 
2019: Veni, Vidi, Vinci, Fluctuart, Paris.
2019: Tàpia, B-Murals, Barcelona. 
2019: Capture the Street, River Tales, Germany.
2019: We Rise, Los Angeles, USA.
2019: Beyond the Streets, New York City.
2019: Women in Street Art, Bernard Magrez Foundation, France.
2019: Art Miami, Miami.
2019: Art Basel, Miami. 
2018: One Way Through, Heron Gallery, San Francisco. 
2018: Women in Street Art, The Bernard Magrez Foundation, Paris. 
2018: True Will, Chins Gallery, Bangkok, Thailand.
2018: Moniker Art Fair, New York and London.
2018: Art Miami, Fabien Casteneir Gallery, Miami.
2018: Art Basel Miami, Miami.
2017: Urban Currents, Gallerie Kirk, Denmark.
2017: Magic Cities, Munich, Germany.
2017: the UrbanArt Biennale® , UNESCO Voelklinger Huette World heritage site,  Germany.
2017: Homeless, Void Projects, Miami.
2016: XX: A moment in time, Saatchi Gallery, London.
2016: Freedom as Form, Wunderkameren Gallery, Milan. 
2016: PM10, Urban Nation Museum, Berlin. 
2016: Agitprop, Brooklyn Museum, New York. 
2014: Artscape , Malmoe, Sweden.
2014: Forest for the trees mural festival, Portland.
2014: Rencontres Australes d’Imaitsoanala, Antananaraivo, Madagascar.
2014: A study of Hair, Backwoods Galley, Melbourne.
2014: Redux , Inoperable Gallery, Vienna.
2014: Outdoor Urban art festival, Rome, Italy.
2014: Wywood walls, Art Basel, Miami.
2013: Anniversary Group Show ,White Walls Gallery, San Fransisco.
2013: Memorie Urbane Contemporary Festival, Gaeta, Italy.
2013: Escape the Golden Cage , Vienna, Austria.
2013: XII. Into the Dark, Unit44, The Victoria Tunnel, Newcastle.
2013: Scupltura Viva International Symposium, San Benedetto del Tronto, Italy.
2013: DOS, Toronto.
2013: Women on the walls, Jeffrey Deitch and Wynwood Walls, Miami. 
2013: Beyond Eden, Thinkspace Gallery, Los Angeles.
2013: Wall Therapy, New York. 
2013: Wooster Collective 10 Year Anniversary Show, Jonathan Levine Gallery, New York. 
2013: Nuart Festival, Stavanger, Norway.
2013: Avant-Garde Urbano Festival, Tudela de Navarra, Spain.
2013: Los Muros Hablan, San Juan, Puerto Rico. 
2012: Antenna Garden, Rtist Gallery, Melbourne.
2012: Carbon Event, Melbourne.
2012: Warrington Museum, London.
2012: Herzensbrecher, Strychnin Gallery, Berlin.
2012: Kulturhuset , Stockholm.
2012: Wynood Walls, Miami.
2011: Urban Painting, Milan.
2011: MSA Gallery, Paris.
2011: Urban Mural Project, Greece. 
2011: Gossip Well Told, Second Edition, Warrington Museum, London.
2011: City Leaks Festival, Cologne.
2011: Inner Walls, Milan.
2011: Les murs litinerrance, Paris.
2011: Gossip Well Told, Blackall Studio, London.
2011: Visual Intervention, Rochester.
2011: Archetypes, View Art Gallery, England.
2011: Artmosh, Munich.
2011: Wuppertal Museum, Germany. 
2010: Moniker Art Fair, London.
2010: Stroke03 Art Fair, Berlin.
2010: Escape 2010, Veinna.
2010: Biennial, Sao Paulo.
2010: Urbanus International Mural Project, China.
2010: Focus10, Switzerland.
2010: Le Salon Du Cercle De La Culture A Berlin, Circle Culture Gallery, Berlin.
2010: Design For Humanity, Thinkspace, Los Angeles.
2010: or Those Who Live In It…, Mu Gallery, Eindhoven.
2010: Muao Project, A Coruna, Spain. 
2010: Paint Your Faith, Aayden Gallery, Vancouver.
2010: A Cry For Help, Thinkspace, Los Angeles. 
2009: The Generations, The Showroom Gallery, New York.
2009: Artmosh, Paris.
2009: Artotale International Mural Project, Lueneberg, Germany.
2009: No New Enemies , Mr Ego, Brussels. 
2009: Four, 34 Long Fine Art Gallery , Cape Town.
2008: 1st Internationale Graffiti Bienale, belo Horizonte, Brazil. 
2008: Anything Could Happen, Carmichael Gallery, Los Angeles. 
2008: Fatally Yours, Crewest Gallery, Los Angeles.
2007: Crossover, Showroom Gallery, New York.
2007: Be Girl Be, Jntermedia Arts, Minneapolis.
2007: Pick Of The Harvest: Batch Four, Thinkspace Gallery, Los Angeles.
2005: Subglob, Orebro, Sweden
2005: Go Gallery, Amsterdam

Group Exhibitions - South Africa

2020: Staring Straight to the Future, Everard Read Gallery, Cape Town.
2020: PINK, Everard Read Gallery, Johannesburg. 
2020: Investec Cape Town Art Fair, Cape Town. 
2019: On Main Road, Constitution Hill Women’s Jail, Johannesburg, South Africa 
2019: FNB Art Joburg, Johannesburg.
2018: Investec Cape Town Art Fair, Cape Town. 
2017: Dislocation, Everard Read Gallery, Cape Town.
2017: Invisible Exhibition, The Centre for the Less Good Idea, Johannesburg.
2017: Investec Cape Town Art Fair, Cape Town.
2011: Outside, 34 Long Gallery, Cape Town.
2010: Cool Stuff, 34 Fine Art Gallery, Cape Town. 
2010: Nothing Is Everything, Word Of Art Gallery, Cape Town.
2009: Group Soup, Word Of Art Gallery, Cape Town.
2007: The Art Of The Living Dead, Baseline Studios, Johannesburg. 
2006: New Suburbia, Pretoria.
2006: Lines Of Attitude, South Africa and Kenya. 

Murals - International

2020: Y/our Vote, USA. 
2019: Universal Studios Indoor Artwork Commission, Los Angeles. 
2019: Dictator Art Installation, Columbia.
2019: United Labor Organization 100 Year Mural, New York City.
2019: Maya Angelou School Mural Upliftment Project, Los Angeles. 
2019: Mural Arts Large Mural Production, Philadelphia.
2019: Projection Mapping Mural, BLINK, Cincinnati. 
2019: RED, Mural Project for HIV Awareness, Lyon.
2018: Summit LA18, Los Angeles. 
2017: Artscape Festival, Sweden.
2017: Art Republic Mural Project, Jacksonville. 
2017: Art Council Public art intervention, New Orleans.
2017: Art Miami, Juxtapoz Clubhouse installation, Miami. 
2016: Cities of Hope Mural Project, Manchester. 
2016: Inter|urban Mural Project, Cleaveland. 
2016: Wynwood Walls, Art Basel, Miami.
2015: The Psychic Power of Animals Street Intervention, New York. 
2015: Dragon Tiger Mountain Mural Project, Nanachang, China.
2015: Pow Wow Taiwan, Taipei. 
2015: Ono’u Mural Project, Tahiti.
2015: Festival Mural, Montreal, Canada.
2015: Murals for Oceans Expedition Mural Project, Cozumel, Mexico.
2014: 5 Sector Mural Project, Glasgow.
2014: Berlin Wall 25th Anniversary Group Show, Paris.
2014: Djerbahood, Djerba, Tunisia.
2013: Pow Wow Mural Project, Hawaii.
2013: Upfest Mural Project, Bristol.
2013: MAUS Mural Project, Malaga, Spain.
2012: Mural Project, Tel Aviv.
2012: Aarhus International Mural Project, Aarhus, Denmark.
2012: Mural Project, Sion, Switzerland.
2012: Mural Project, Melun, France.
2012: Paris Free Walls, Paris.
2012: Wall Therapy, Mural Project, New York.
2012: World Open Walls, Miami.

Murals - South Africa

2017: Johannesburg Mural, Sandton. 
2016: 1200 - 900 BC, Cape Town, South Africa. 
2016: Unearth, Napier, South Africa. 
2015: Landfill Meditation Street Intervention, Johannesburg.
2015: Feet Don't Fail Me Now, Johannesburg. 
2014: A Study of Warwick Triangle at Rush Hour, Durban.
2015: Una Salus Victus Nullam Sperare Salutem, Johannesburg, 2015.
2014: Harvest, Cape Town. 
2012: The Long Wait, Johannesburg.

Selected Publications & Links

Dave Mann, "CHANT: Faith XLVII’s public practice", Daily Maverick, April 22, 2020.

Ilana Herzig, "The Renegades Making Feminist Art In the Streets", Hyperallergic, October 31, 2019.

Petra Mason, "15 Young local artists that have wowed the world in 2019/", Times Lives, December 15, 2019.

Charu Suri, "Five Women Reinventing the Face of Street Art", Muse, August 8, 2018.

Liz Ohanesian, "This South African Street Artist Moved to L.A. to Explore the Politics of Being Human", LA Mag, April 17, 2018.

Brent Lindeque, "South African graffiti piece tops the worlds best list!', Good Things Guy, January 11, 2018.

Petra Mason, "Re-Mixing History: African Women Artists at Art Basel Miami Beach 2017", Whitehot Magazine, December 2017.

Elizabeth Mccray, “Faith47”, Bliss magazine, April 2014

Ashraf Jamal, “Graffiti art: Faith 47,” Financial mail, April 23, 2014.

Brendon Bell-Roberts; Ashraf Jamal, “100 Good Ideas,” March, 2014.

Lisa van Wyk, “Faith47: Street Artist,” Mail & Guardian. 

Daisy Wyatt, “In search of a female Banksy: Aiko and Faith47 take on a male-dominated street art world,” The Independent, October 15, 2013.

Charlie Finch, “The Savage Street,” Artnet. 

Bsrat Mezghebe, “Faith47, Street Art and South Africa’s Contradictions,” CIMAMAG, October, 2013.

Dal + Faith,” Very Nearly Almost Magazine, March, 2013.

Foadmin, “Faith47: Sea to Sea,” Fair Observer, December 26, 2012.

Andy Davis, “We Close Our Eyes to Stay Blind,” November 21, 2012.

“Interview with Faith47,” Dumbwall.

Matthew Krouse, “Streets ahead in the realm of public art,” Mail & Guardian, October 26, 2012.

“Faith47 (ZA),” Art Bastard.

“Walls & Frames: Fine Art from the Streets,” September, 2011.

Nicholas Ganz, “Graffiti World," 2009.

Kiriakos Iosifidis, “Mural Art,” November, 2008.

Nicholas Ganz, “Graffiti Woman,” 2006.


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.

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.