Avhashoni Mainganye

b. Venda, Limpopo, South Africa, 1957. Lives in Thohoyandou.
Avhashoni Mainganye is an artist, art educator, cultural activist and poet, and has been instrumental in promoting artistic activity in Limpopo. Initially producing art with strong socio-political overtones, his work has become increasingly abstract,  with questions of African culture interfacing with broader humanist concerns. 



Phillipa Hobbs, Messages and Meaning: The MTN Art Collection, (David Krut Publishing, Johannesburg, 2006), 147)




Brett Kebble Awards 2004, (Marulelo Communications: Cape Town, 2004), 146-147)




Art education

1981-82 Rorke's Drift Art & Craft Centre, Kwa-Zulu Natal
1985-89 Funda Art Centre, Soweto, Johannesburg

Selected Exhibitions

2019: The Mahlakasela collection, Henry Ponder Gallery, South Carolina 
2016: Johannesburg Art Fair, Johannesburg
2015: Art Santa Fe 2015, Sante Fe Convention Center, New Mexico, USA
2015: Opening the Drawers: A Limited Edition Print Pop Up Shop, David Krut Projects, Johannesburg
2015: Venda Tsonga Craft Art Exhibition, Madi a Thavha Lodge, Limpopo
2014: Work on Paper, Trent Gallery, Pretoria
2011: Collages, African Studies Centre, Leiden, Netherlands
2010: Journey, solo exhibition, iZArte, Zutphen, Netherlands
2008: Journey, solo exhibition, Association for the Visual Arts, Cape Town
2007: 30 Years of Soweto Printmaking, Johannesburg Art Gallery, Johannesburg
2006: Avashoni Mainganye and Sandile Zulu – New Works, David Krut Projects, Parkwood
2004 - 5: Soul Of Africa: Art as a Cornerstone for Development, The Development Bank of Southern Africa, Midrand
2001: Golelanwali, Alliance Francais, Johannesburg. 
2000: Solo exhibition, Coker College, North Carolina, USA
1995: Spring Time in Chile, Museum of Contemporary Art, Santiago, Chile
1995: Africa95, Royal Academy of Arts, London, United Kingdom
1994: Artists for Peace, Geneva, Switzerland
1992: Solo exhibition, Polokwane Art Museum, Polokwane
1989: Women, Everard Read Gallery, Johannesburg
1988: VhaVenda / Shangaan Wood Sculptures, South African Association of Arts, Pretoria
1987: National Museum & Gallery, Gaborone, Botswana
1985: BMW Tributaries, Africana Museum in progress, Johannesburg
1985: Artimo (Art in Motion), Market Gallery, Johannesburg

Workshops & Residencies

2016: Transvisions in Wood, Karoo
2008: International AIDS Conference, Polokwane Art Gallery, Polokwane
2007: Triangle workshop, Isle of Tanera Mhor, Scotland
2006: Greatmore Studios residency, Cape Town
2005: Venda Land of Legends, Venda & Tsonga wood carving workshop, Netherlands
1999: Craft/Art, Joint wood carving workshop with Graham Jones, Grahamstown Arts Festival, Grahamstown
1995: Spring in Chile cultural exchange programme, Chile
1994: Koma, collaboration with Stefano Kofmehl of Locarno, Switzerland
1990: Soweto Action, Art Residency, France & Switzerland
1986 - 2006: Thupelo Art Workshops, Cape Town


2020: ACT Lifetime Achievement award for Visual Arts
2016: MEC Achievers Award, Limpopo Department of Arts and Culture, Polokwane
2008: Top five, Sasol Wax Art Awards, University of Johannesburg Art Gallery, Johannesburg
2007: Top ten, Sasol Wax Art Awards, University of Johannesburg Art Gallery, Johannesburg
2005: Achievers Award, Limpopo Mapungubwe Arts Festival, Polokwane
2004: Finalist, Brett Kebble Awards
1994: Participant, FNB Vita Awards
1985: Solomon Reuben and Ann Winer Bursary


2014 Hosted the Ubuntu Trust, Thohoyandou Arts & Culture Centre, Thohoyandou
2009 Department of Arts and Culture's Arts & Craft Awards selecting panel
2004 - 5 Soul of Africa exhibition selecting panel, Development Bank of Southern Africa, Johannesburg
2001 Art teacher, printing, Feniks International 20th Anniversary, Belgium
2000 Art teacher, painting and printing at Coker College, United States
1999 Arts facilitator, Thohoyandou Arts and Culture Centre, Thohoyandou
1985 - 2006 United States - South Africa Leader Exchange Program (USSALEP)

Public collections

IBM South Africa, Cape Town
MTN, Johannesburg
Anglovalal Mining Company, Johannesburg
Fur Volkerkunde Museum, Hamburg, Germany
Totem Meneghelli Gallery, Johannesburg
Polokwane Art Museum, Polokwane
University of Zululand, Richards Bay
University Limpopo, Mankweng
University of Venda, Thohoyandou
The Ghandi Foundation, London, United Kingdom


Ayesha Price

b. Cape Town, 1975.
Ayesha Price is an artist and art educator who works in various media, often addressing issues concerning gender and cultural identity.

Arts Education

2008-present Bachelor of Visual Arts, University of South Africa
1996 Diploma in Education – Practical Specialisation in Visual Arts Hewatt College of Education (in association with UCT)


2010 Principal, Zonnebloem Children’s Art Centre, Cape Town
2009-2010 Educator, Iziko South African National Gallery
2008-2009 Visual Arts Education Officer, ISANG1998-2006 Visual Arts Educator, Zonnebloem Children’s Art Centre
2000 Fundraiser, South African National Zakaah Fund
1998-present Art educator and manager of art departments at Iziko SA National gallery and The Children's Art Centre, Cape Town
1997 Visual Arts Educator Grades 4-7, Battswood Art Centre

Exhibitions (solo)

2013 Save the Princess, Lovell Gallery, Cape Town
2012 Archiving the Modesty of the Cape Malay Woman, Art B Gallery, Bellville, South Africa

Exhibitions (group)

2016 Beyond Binaries. Essence Festival, Durban
2016 Delville Wood Museum, Longueval, France
2015 Thupelo Cape Town Trust Exhibition, Provenance Auction House, Cape Town
2007 Africa South, Association for Visual Arts, Cape Town
2006 Artscape, Cape Town (for the Cape Town Festival). Botaki 4, Old Mutual Asset Managers, Pinelands, Cape Town
2005 Botaki 3 & 4: Old Mutual Asset Managers, Cape Town.
2004 Gender & Visuality Exhibition, UWC (History Dept). Battswood Gallery, Cape Town
1999 DisNag, Iziko Slave Lodge & ART 1 Gallery, Cape Town

Workshops & ongoing community projects

2005-present District Six community workshops, Lydia Williams Centre, Cape Town
2004-present Member of art@school.education.com< /a>(voluntary organisation) with Cape Town artists to engage youth and communities through visual arts
1997-present Assisting schools (Zonnebloem Girls Primary, St Agnes Primary, Wynberg Senior Secondary, Al-Wafaa Preschool, Walmer Primary) with banners, signs, stage props and decor, costumes, posters, exhibitions

Workshops/Community projects (previous)

2016: District 6 Museum Peninsula Memory Project. Public participation to produce commemorative artworks. Steel sculpture, video installation, mixed media murals.
2015 Thupelo Artist’s Residency, Ruth Prowse, Cape Town
2011 Mural Painting, Philadelphia University of the Arts, Cape Town & Philadelphia, USA
2010 Strengths & Convictions, Nobel Peace Center & Iziko Museums, Cape Town
2008-2010 Visual Arts Educator and Exhibition Designer for Peacejam Foundation Youth Programmes (Unesco funded project)at the District Six Museum and ISANG Annexe
2008-2009 British Council: ‘Rivers of the World’, Workshops in Cape Town, exhibition in London
2008-2009 Visual Arts Educator and Exhibition Coordinator for Peripheral Vision, a cultural youth exchange programme between District Six Museum and Swedish Arts and Culture Centres: Lava, Zenit, BotkyrkaKunstall
2007-2008 Rivers of the World International Art Project (worked with learners to produce artworks about the Liesbeeck River)
2007 Oorwinning Kanala, Photography workshop , Goodman Gallery, Cape Town
2007 Photographic workshop for District 6 youth with artists Hussein and Hassan Essop for the Goodman Gallery Cape at the Lydia Williams Centre
2002 Isivivane solwazi, Robben Island Museum, Western Cape, South Africa & Devon County, United Kingdom
2002 Visual Arts Educator, Isivivane Solwazi Art and Culture programme, Robben Island Museum Spring School
1999 Mural painting facilitator, Words and Vision, Molo Songololo Productions


Private, South Africa
Delville Wood Museum, Longueval, France


2014 Injustice, sculpture commissioned by V & A Minstrels for Cape Minstrel Carnival
2005 Ti Koeli’s heritage, painting commissioned by The Department of Economic Development and Tourism, Art in Business exhibition at ArtsCape.
2000 Shine Where You Are ; Lulama’s Blanket, Book illustrations commissioned by IDASA
1999 South African National Zakkaah fund. Also private


2013 The Excellence Certificate for top UNISA 4th year Visual Art student in SA


2006 Visual Art Adjudicator, Fairest Cape Association
2005/6 Contributor (text and photographs), Iziko EPP Publication Picasso and Africa
2004 Reviewing & consulting arts & culture handbook for learners & Educators, Oxford University Press
2003 Visual Art Adjudicator, Lovelife. Textile Workshop, MAPPP-SETA
1997-2003 As member of the Arts Junction (youth arts productions) planned art workshops, exhibitions, production of posters, pamphlets, set & costume design
2000 Book illustrations for IDASA (Project Literacy). Book titles: Shine Where You Are; Lulama's Blanket
1999 Member of the Arts Forum, based at Battswood Art Centre

Bongiwe Dhlomo-Mautloa

b. Vryheid, KwaZulu-Natal, South Africa, 1956. Lives in Johannesburg.

Bongiwe Dhlomo-Mautloa is an artist, art educator and one of South Africa’s first black curators. She began making art in the late 1970s as a response to life under apartheid. With a strong focus on the political, her aims include giving voice to the rural and urban histories of black women.

Arts Education

1978 - 1979: Fine Arts Diploma (Printmaking), The Evangelical Lutheran Church Art and Craft Centre at Rorke's Drift, Natal, South Africa.


2018: The Friends of JAG and Keyes Art Mile  Fuba 40th Anniversary. Exhibition, Trumpet Building, Keyes Art Mile, Johannesburg, South Africa
2017: A Labour of love, Johannesburg Art Gallery, Johannesburg.
2015: A Labour of Love, Weltkulturen Museum, Frankfurt, Germany.
2014: Impressions of Rorke’s Drift - The Jumuna Collection, Iziko South African National Gallery, Cape Town, South Africa.
2012: A Fragile Archive, Johannesburg Art Gallery, Johannesburg, South Africa.
2010: Strengths and Convictions: The Lives and times of South Africa's Nobel Peace Prize Laureates, Iziko South African National Gallery, Cape Town, South Africa; Nobel Peace Centre, Oslo, Norway.
2003: Rorke's Drift: Empowering Prints 1962 - 1982, Iziko South African National Gallery, Cape Town; Durban Art Gallery, Durban, South Africa.
2003: Time, Memory and Desire, Standard Bank Art Gallery, Johannesburg.
1999: [Rewind] Fast Forward.za, Van Reekum Museum of Modern Art, Apeldoorn, Netherlands.
1998: Trans Figurative, Association of Visual Arts Gallery, Cape Town, South Africa.
1989 - 1990: Art/Images in Southern Africa, Kulturhuset, Stockholm, Sweden.
1988: The Neglected Tradition, Johannesburg Art allery, Johannesburg, South Africa.
1986: Images of South Africa (solo), Gabarone, Botswana. 


2020: Panelist, “Building legacies: Investing in Culture”, Investec Cape Town Art Fair, Cape Town.
2019: Curator, Admission of Guilt, 179 Buitengracht St, Gardens, Cape Town, South Africa.
2016: Panelist, "A reflection on the role of the arts in the struggle" panel discussion, Apartheid Museum, Johannesburg, South Africa.
2016: Curator, Workshop, Assemblage.
2014: Panelist, Seminar: Towards a working concept of socially engaged Art in 2014, KZNSA, Kwa-Zulu Natal, South Africa.
2013: Co-Curator, Umhlaba 1913–2013: Commemorating the 1913 Land Act, Iziko South African National Gallery, Cape Town, South Africa.
2013: Facilitator, Print Workshop, National School of the Arts (NSA), Johannesburg, South Africa.
2009 - 2013: Curatorial Content Manager, Steve Biko Centre, King William's Town, South Africa.
1994 - 1999: Committee member, Acquisitions Committee, Iziko South African National Gallery, Cape Town, South Africa.
1986 - 1988: Coordinator, Alexandra Art Centre, Johannesburg, South Africa.
1983 - 1985: Curator, FUBA Gallery, Johannesburg, South Africa.
1980 - 1983: Worked at the African Art Centre, Durban, South Africa.


Dhlomo, B and Godby, M “Art and Politics in a Changing South Africa: Bongi Dhlomo in Conversation with Michael Godby."African Arts, vol. 37, no. 4, 2004, pp 62-96.

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"


Cedric Nunn

b. Nongoma, KwaZulu-Natal, South Africa, 1957. Lives in Assagay, KZN.

Spanning three decades, Cedric Nunn’s photographs highlight the interplay between the personal and the political, challenging reductive views of ‘change’.

Solo Exhibitions

2015: Unsettled: One Hundred Years War of Resistance by Xhosa Against Boer, WITS Art Museum, Johannesburg.
2013: Call and Response, Omenka Gallery, Lagos.
2012: Call and Response, David Krut Projects, New York.
2011: Call and Response, Galerie Seippel, Germany.
2011: Call and Response, Museum Africa, Johannesburg. 
2011: Convergence, KwaMuhle Museum, South Africa.
2011: Blood Relatives, Durban Art Gallery, Durban.
2011: Paris Photo, Grand Palais, Paris.
2010: In Camera, Albert Luthuli Museum, Groutville, KwaZulu-Natal
2009: Cedric Nunn: Revision, Bailey Seippel Gallery, Johannesburg
2005: Blood Relatives, Old Fort Gallery, Constitution Hill, Johannesburg, South Africa
1997: Malhawu, Macufe Arts Festival, Bloemfontein.
1997: Blood Relatives, Playhouse, Durban.
1995: The Hidden Years, KwaMuhle Museum, Durban.
1987: Stop the Killings, University of Durban-Westville, Durban.
1984: Bosmont, Johannesburg.

Group Exhibitions - South Africa

2019: Blood Relatives, Oliewenhuis Art Museum, Bloemfontein. 
2018: The Art of Activism, Durban Art Gallery, Durban.
2018: Return: Surviving Genocide, Dispossession and Erasure, District Six Homecomeing Centre, Cape Town. 
2016: Beyond Binaries, Essence Festival, Durban; Durban Art Gallery; KZNSA.
2013: Lights, camera, fire, artSPACE, Durban.
2010: Bonani Africa
2010: Festival of photography, Iziko Castle of Good Hope, Cape Town.
2010: 1910-2010: From Pierneef to Gugulective, Iziko South African National Gallery, Cape Town.
2010: Joburg Art Fair, Sandton Convention Centre, Johannesburg.
2010: Standard Bank Gallery, Johannesburg.
2010: UNISA Art Gallery, Pretoria.
2009: Voices, End Conscription Campaign, Spier, Stellenbosch.
2009: Then and Now: Eight South African Photographers, UNISA Art Gallery, Pretoria.
2008: Then and Now: Eight South African Photographers, Iziko Castle of Good Hope, Cape Town.
2007: Then and Now: Eight South African Photographers, Rhodes University, Grahamstown.
2007: Then and Now: Eight South African Photographers, Durban Art Gallery, Durban.
2004: Fatherhood Project, Museum Africa, Johannesburg.
2003: Youth on the Move, Parliament, Cape Town.
2000: Every Child is My Child, African Window Museum, Pretoria.
2000: Living in a Strange Land, Parliament, Cape Town.
2000: Emotions and Relations, Sandton Civic Gallery, Johannesburg.
1999: Lines of Sight: Perspectives in South African Photography, South African National Gallery, Cape Town.
1999: Workers, The Workers Library & Museum, Johannesburg.
1998: National Development Agency, Workers Library, Johannesburg.
1997: South African National Gallery Contemporary Collection, Cape Town.
1997: NGO Coalition, Johannesburg.
1995: Black Looks, White Myths, Africus Johannesburg Biennale, MuseumAfrica, Johannesburg.
1994: This Land is Our Land, Bloemfontein.
1989: Beyond the Barricades, Market Photo Gallery, Johannesburg.
1988: Ten Years of Staffrider, Market Photo Gallery, Johannesburg.
1987: History Workshop, Wits University, Johannesburg.
1985: South Africa – The Cordoned Heart, University of Cape Town, Cape Town.
1984: Women at Work, Johannesburg.

Group Exhibitions - International

2019: Soil is an inscribed body, SAVVY Contemporary, Berlin. 
2018: Terre de Uomini, Fondazione Fotographia, Modena. 
2012: Mine, Dubai Communtiy Arts Centre, Dubai.
2010: South African Photography: 1950 to 2010, Willy Brandt Haus, Berlin; Goch Museum, Goch, Germany.
2010: Hearts and Minds, Savanah College of Art and Design, Georgia, USA.
2010: Africa: See You, See Me!, Grey Art Gallery, New York; Accra; Lagos; Piazze della Signoria, Florence.
2007: Then and Now: Eight South African Photographers, Melbourne Art Gallery, Melbourne, Australia; Sweden.
2003: Johannesburg Alive, Bogota, Columbia.
2002: Group Portraits, Nine South African Families, Tropen Museum, Amsterdam.
2002: Maison Descartes, Amsterdam Photography Biennale, Amsterdam.
2002: Bamako African Photography Biennale, Bamako, Mali.
2000: Capitals, Espace Matisse, Lille, France.
1998: 3rd Festival of African Photography, Bamako, Mali.
1998: Democracy’s Images: Photography and Visual Art after Apartheid, Bildmuseet, Umea; Uppsala Art Museum, Boras Art Museum, Malmo Museum, Sundsvallas Museum, Sweden, Johannesburg Art Gallery, Johannesburg; Impression Gallery, UK; Pori Art Museum, Finland.
1996: Colours-Contemporary Art from South Africa, Haus de Kulturen de Welt, Berlin, Germany.
1990: Zabalaza Festival, London, UK.
1987: Culture in another South Africa, Amsterdam, Holland. Health, South Africa & Germany.
1985: South Africa: Cordoned Heart, International Centre for Photography, New York & The Photographers Gallery, London.
1983: Nicht Wir Uns Trennen, Germany.


2010: Lecture, New York University, New York.
2010: Panelist, ArchitectureZA 2010 Conference, Johannesburg.
2010: Panelist, Africa on My Mind symposium, Savannah College of Arts and Design, Georgia, USA.
2010: Presented a talk and slide show at University of Western Cape, Bellville, Cape Town.
1999: Participant (delivered paper), Encounters Photography Conference, Cape Town.


South African Broadcasting Corporation
South African Development Bank
Centre for the Study of Violence and Reconciliation
Ukhozi FM
Ford Foundation
Cheadle Thompson and Haysom
Johannesburg Housing Company
Radio Metro
MOTT Foundation
De Beers
Safer Africa
Sheer Sounds

Publications - work featured in books

2011: Ralf-P. Seippel (ed.), Call and Response, Hatje Cantzand & Fourthwall Books, Johannesburg. 
2015: Cedric Nunn, Unsettled: The 100 Year War of Resistance by Xhosa Agaisnt Boer and British, Penguin Random House, Johannesburg.
2009: Darren Newbury, Defiant Images: Photography and Apartheid South Africa, Unisa Press, Pretoria.
2007: Gavin Chawtra, Andre du Pisani & Abillah Omari (eds), Security and Democracy in Southern Africa, Wits University Press, Johannesburg.
2004: Edgar Pieterse & Frank Meintjies (eds.), Voices of the transition: the politics, poetics and practices of social change in South Africa, Heinemann, Sandown.
2004: Gwen Ansell, Soweto blues: Jazz, Popular Music and Politics in South Africa, Continuum, New York.
2003: Melanie Samson, Dumping on Women: Gender and Privatisation of Waste Management, SAMWU and Municipal Services Project, Athlone.
2002: Omar Badsha (ed.) With Our Own Hands: Alleviating Poverty in South Africa, Department of Public Works, Pretoria.
1998: Shamin Meer, Women Speak: Reflections On Our Struggle 1982-1997, Kwela Books, Cape Town.
1998: Karen Hurt & Debbie Budlender (eds), Money Matters: Women and the Government Budget, Institute for Democracy in South Africa, Cape Town.
1992: South Africa-State of Fear, Amnesty International, London.
1990: Jurgen Schadeberg (ed.), Nelson Mandela and The Rise of the ANC, Bloomsbury, London.
1989: Iris Tillman Hill & Alex Harris (eds), Beyond the Barricades: Popular Resistance in South Africa, Aperture Books in association with the Center for Documentary Studies at Duke University, New York.
1989: Francis Wilson & Mamphela Ramphele (eds), Uprooting Poverty: The South African challenge, David Philip, Cape Town.
1988: Andries Oliphant, Ten Years of Staffrider, Ravan Press, Johannesburg.
1986: Omar Badsha (ed.), South Africa: The Cordoned Heart, Gallery Press, Cape Town & W.W. Norton and Co., New York (Text by Francis Wilson). Patricia Henderson, Waaihoek, Association for Rural Development, Pietermaritzburg.
1985: Jane Barret et al., Vukani Makhosikazi: South African Women Speak, Catholic Institute for International Relations, London.

Publications - work featured in catalogues

2010: Delia Klask & Ralf-P Seipel (eds), South African Photography: 1950 to 2010, Hatje Cantz Verlag, Ostfildern.
2009: Andrew Armacost et al (eds), Beyond Beauty: The Archive of Documentary Arts at Duke University, Duke University Press, Durham.
2007: Michael Godby, Then and Now: Eight South African Photographers, Highveld Press, Johannesburg.
2006: Department of Arts and Culture South Africa (ed.), Africa is Calling: South African Arts and Culture Manifestation in Germany.
1998: Jan Lundstrom & Katarina Pierre (eds) Democracy’s Images: Photography and Visual Art After Apartheid, Umea University, Umea.
1995: Tumelo Mosaka & Octavio Zaya (eds), Black Looks, White Myths, Ministerio de Asuntos Exteriores de Espana, Spain (Africus Johannesburg Biennale catalogue).

Publications - work featured in newspapers

South Africa: Die Vrye Weekblad, The Star, Sunday Express, The Rand Daily Mail, Sunday Times, Sunday Independent, City Press, Mail & Guardian, New Nation, South, The New African, Daily News, Natal Mercury, Umafrika, Reconstruct.
Europe and United States: London Sunday Times, Daily Telegraph, The Independent, Guardian, New York Times, Boston Chronicle for Higher Education, Dagens Industri, Le Humanite.

Publications - work featured in magazines

South Africa: Ford Foundation Annual Report 1999/2000, Leadership, Indicator, Speak, Frontline, New Era, Pace, Drum, Upbeat, Learn and teach, Work in Progress, State of the Nation, Ecunews, Diakonia News, Cosmopolitan, Agenda, Critical Health, New Ground, Labour Bulletin, Financial Mail, Die Suid Afrikaan, Leading Edge, Finance Weeks, Development Bank of S.A., Success S.A. Enterprise
Europe and United States: Jazz Times, Telerama, Nova Ecologia, Jeune Afrique, Der Spiegel and Panascope.


Independent Electoral Commission, Directorate for AIDS and Communicable Diseases, Beyond Awareness AIDS Media Campaign, Gauteng Department of Housing, Nordic Council of Ministers, Presidents Office, Department of Public Works, Department of Labour, Department of Health, Johannesburg City, ESETA, Johannesburg City Parks, Albert Luthuli Museums, National Development Agency, PetroSA, SaferAfrica, Transnet


2015: Lecturer, South African Artists in Focus series, the University of Witwatersrand, Johannesburg.
Director, Endaweni Photographic, Richmond, KwaZulu-Natal.
2005: Director, 'Blood Relatives'™ Video Documentary, SABC.
2004: Judge, Vodacom Photography Journalist of the Year awards.
2003: Judge, Vodacom Photography Journalist of the Year awards.
2002: Convener, Fuji Press Photo’s awards.
2001: Board member, The Bensusan Museum of Photography, MuseumAfrica, Johannesburg.
2000: Beyond Awareness Campaign, Government sponsored HIV/AIDS campaign to make media available to the public. 
1999: Judge, Fuji Press Awards.
199: Participant, Shuttle 99 Cultural collaboration between Scandinavian countries and South Africa.
1998-2000: Director, Market Photo Workshop, Johannesburg.
1998: Attended workshops and visited Helsinki as part of South African delegation.
1999: Curator, Lines of Sight: Perspectives on South African Photography, South African National Gallery.
1982-1990: Co-founded, Afrapix with Paul Weinberg, Peter McKenzie and Omar Badsha.
1974-1981: Worked at Hullets Sugar Mill, KwaZulu-Natal.


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

Dolla Sapeta

b. New Brighton, Port Elizabeth, Eastern Cape, South Africa, 1967.

Mxolisi Dolla Sapeta is a painter and writer. His art speaks to issues of alienation and dehumanisation in the contemporary urban environment.


Art Education

2016: Master of Arts in Creative Writing, Rhodes University.
1999: Drawing Certificate, University of South Africa.
1999: Fine Arts National Diploma, Nelson Mandela Metropolitan University, Port Elizabeth.
1998: Foundation Art Studies, Intec College. 

Solo Exhibitions

2013: Bloodline v Deadline, Storefront Art Space, Pittsfield, USA.
2013 - 2014: Midlife Colour, Atheneum Art Gallery, Port Elizabeth. 
2009: New World Other, Bell-Roberts Contemporary art gallery, Cape Town.
2007: Detached, Bell-Roberts Contemporary, Cape Town.
2005: Shifting Centers, Green Gallery, Grahamstown.
2000: Makwerekwere, The Nativ Kollektive Art Gallery, Port Elizabeth.
1998: Fragile Society, solo  Cuyler Street Art Gallery, Port Elizabeth.

Group Exhibitions - International

2019: Nando’s and Spier Trust, 1-54 Contemporary Art Fair,London.
2014: Imago Mundi: The Art of Humanity, Treviso.
2015: Imago Mundi: The Art of Humanity, Rome.
2015: Map of the New Art, Fondazione Giorgio Cini, Venice. 
2016: The Art of Humanity, The Pratt Institute, New York.
2014: Liminal Reclamation, Old School, New York, USA.
2008: Frolunda Culturhus, Goteborg, Sweden.
2008: Netherlands Art Fair, Amsterdam.
2002: 4th Pan-Africanist Circle of Artists (PACA) Biennale, Lagos, Nigeria.

Group Exhibitions - South Africa

2018: Collective Ink, GFI Art Gallery, Port Elizabeth. 
2017: Collector’s Edition II, Gallerie Noko, Port Elizabeth.
2017: The Spier Creative Block, GFI Art Gallery, Port Elizabeth. 
2016: The Circus and the Zoo, Michaelis Galleries, Cape Town.
2015: Dialogue, William Humphrey Art Gallery, Kimberley.
2014: Here Be The Dragon, show, Underculture Contemporary Art Gallery, Port Elizabeth.
2014: Art Action with Ian von Mementry in Aid of St Francis Hospice, GIF Contemporary Art Gallery, Port Elizabeth.
2014: Nelson Mandela Metropolitan Art Museum Biennial Exhibition, The Nelson Mandela Metropolitan Art Museum, Port Elizabeth.
2014: A Shade of Pink, Gallerie Noko, Port Elizabeth.
2014: Xpressions 2014 Biannual Fine Art Exhibition, ART Gallery, Port Elizabeth.
2014: 4:40, ART Gallery, Port Elizabeth and Grahamstown National Festival, Grahamstown.
2014 Food for thought, ART gallery, Port Elizabeth.
2013: ART Gallery, Port Elizabeth.
2012: Grahamstown National Arts Festival, Grahamstown.
2007: Bell-Roberts Contemporary Art Gallery, Cape Town.
2007: Surface Tension, Heidi Erdmann Contemporary; the PHOTOGRAPHERS gallery ZA, Cape Town.
2003: "Window-dress puppet master versus institution chicken boy", Cuyler Street Art Gallery, Port Elizabeth.
2001: Pty. L.T.D., EPSAC Art Gallery, Port Elizabeth.

Workshops & Residencies

2015: “Singaphi” Environmental Public Art Community Project”, New Brighton, Port Elizabeth.
2013: IS183 Berkshire Residency Program, Massachusetts.
2012: Spoken Word and Music Mamela Festival, poetry participant, The Port Elizabeth Opera House, Port Elizabeth.
2011: Storefront Projects Art Residency, Massachusetts.
2011: Art Omi international Residency program, New York.
2008: KV Konstskola, facilitated workshop, Göteborg, Sweden.
2008: Magisterelever Konst Hogskolan,  Valand Academy, Göteborg, Sweden.
2008: Bell-Roberts Contemporary Art Gallery, facilitated workshop, Cape Town.
1994-95: Gerard Sekoto annual children’s day workshop, Nelson Mandela Metropolitan Art Museum, Port Elizabeth.
1991-1993: NACOSA Aids Awareness workshop, Port Elizabeth.


2013: Selector/judge, ABSA L’atelier National Arts Competition, Johannesburg.
2010: Designed public sculpture sculpture Fish-Bird, Donkin Reserve, Port Elizabeth.
2006: Nelson Mandela Metropolitan Municipality commission. Designed and executed a public mosaic, New Brighton Township, Port Elizabeth. 
2006: The Tower, a public collaboration of mosaic design between Ayanda Mji and Mxolisi Dolla Sapeta, eMbizweni Public Square, Port Elizabeth.
2003: Selector/judge, ABSA L’atelier National Arts Competition, Johannesburg.
2002: Changing Attitudes, Co-Curator, PACA Biennale, Pendulum Art Gallery, Lagos  and University of Nigeria, Nsukka, Nigeria.
2001: Commissioned by the Department of Road Safety to execute murals in Port Elizabeth, Graaf Reinet and Uitenhage.
1999: Co-executed a monumental wall at the Grand Hotel, Port Elizabeth.
1996: Commissioned by the Department of Health, Aids Awareness mural, Brista House building, Port Elizabeth.


Nelson Mandela Metropolitan University, Port Elizabeth.
Pan African Circle of Artists (PACA), Enugu, Nigeria.
Omi International Art Centre, New York, USA.


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