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_lightlab
Studiowork 2019
The works below comprise my second year projects in two groups, exhibited at the end of each term.
Primary focuses were on painting & printmaking.
Landscape as text, 2019
Acrylic, enamel, dirt on found material from a worksite.
There is an underlying dialogue in every landscape - where nature meets urbanisation; place meets description and order/linearity meets chaos. Whilst words can create a visual image of a place in your mind, the textures in an existing landscape can also be read as words which tell a story of place and time. This work incorporates hidden text from the poems 'The City Planners' by Margaret Atwood and 'The Planners' by Boey Kim Cheng.
There is an underlying dialogue in every landscape - where nature meets urbanisation; place meets description and order/linearity meets chaos. Whilst words can create a visual image of a place in your mind, the textures in an existing landscape can also be read as words which tell a story of place and time. This work incorporates hidden text from the poems 'The City Planners' by Margaret Atwood and 'The Planners' by Boey Kim Cheng.
Don't leave me hanging
2019
Stone lithography print & variable edition.
Narrative to form: Finding light, 2019
In the deluge of information and darkness in today's world, light brings clarity & a place of rest for one's eyes. It dances gently. A little piece of light can make even the darkest rooms beautiful. The challenge is to search for it, find it, and keep it.
Blackout, 2019
Laser-printed stamps on newspaper clippings.
Blackouts are a common experience for Zimbabweans. Power cuts or a nation-wide internet blackout; the disappearance of a word, or savings and more. Like the water hyacinth, the darkness threatens - to cripple growth and hope of new life around it. We have to continuously fight for survival & truth. When will it stop?
Blackouts are a common experience for Zimbabweans. Power cuts or a nation-wide internet blackout; the disappearance of a word, or savings and more. Like the water hyacinth, the darkness threatens - to cripple growth and hope of new life around it. We have to continuously fight for survival & truth. When will it stop?
Mindmap [part of Thought processor]
2019
Ink on newsprint.
The mind/imagination is an ever-changing landscape. This work was part of a three-part process-based series in which I attempted to map out my mind.
The mind/imagination is an ever-changing landscape. This work was part of a three-part process-based series in which I attempted to map out my mind.
Train of thought [part of Thought processor]
2019
Marker on newsprint.
Animals & empathy: contained, 2019
Sound & sculptural installation: latex gloves, sand, cardboard.
Urban languages
Acrylics and clear acrylic gel on Perspex.
Contemporary society has developed a fragmented notion of what it means to be connected. In urban settings, social media and technology are making people increasingly visible to each other. Whilst this creates the illusion of connection, these interactions are often only surface-level and can instigate isolation rather than real relationships.
Contemporary society has developed a fragmented notion of what it means to be connected. In urban settings, social media and technology are making people increasingly visible to each other. Whilst this creates the illusion of connection, these interactions are often only surface-level and can instigate isolation rather than real relationships.
![Urban languages [detail]](https://static.wixstatic.com/media/95ecd5_5ebeb71a67814249bbb96620525d1d1a~mv2.jpg/v1/fit/w_1023,h_768,q_90,enc_avif,quality_auto/95ecd5_5ebeb71a67814249bbb96620525d1d1a~mv2.jpg)
Urban languages [detail]
The coded cut
Reduction woodcut.
In the increasingly technology-based world we live in, we are continually bombarded with fragmented images which claim (to be) reality. Even in our greatest attempts to reinvent reality and remove ourselves from nature, contemporary image-making still borrows from natural phenomina: interference, diffraction, fragmentation.
In the increasingly technology-based world we live in, we are continually bombarded with fragmented images which claim (to be) reality. Even in our greatest attempts to reinvent reality and remove ourselves from nature, contemporary image-making still borrows from natural phenomina: interference, diffraction, fragmentation.
Reality to Illusion: Remembering
Collage and acrylic paint
Local dialect
Installation: used teabags, thread, felt.
The conversations we have and languages we speak constitute a significant part of our identities. But, language is not only verbal or literal. Language is encoded in our everyday living.
The conversations we have and languages we speak constitute a significant part of our identities. But, language is not only verbal or literal. Language is encoded in our everyday living.
Appropriate, Process, Synthesise
Series of two etchings.
The colonial period left its mark on African soil: borders which attempted to group and separate people. However, these physical, cultural and social barriers have become increasingly transgressed and contested through the African diaspora and globalisation.
The colonial period left its mark on African soil: borders which attempted to group and separate people. However, these physical, cultural and social barriers have become increasingly transgressed and contested through the African diaspora and globalisation.
Inside-out: a self-portrait
Photoshop collage series.
Identity is partly rooted in everyday living - mediated by the surrounding architecture. Some say that buildings are reflections of bodies, people, values, but these institutions present a fragmented vision of reality.
Identity is partly rooted in everyday living - mediated by the surrounding architecture. Some say that buildings are reflections of bodies, people, values, but these institutions present a fragmented vision of reality.
Still life: Animating the inanimate
Series of 4 digital prints.
This series of drawings and photographs questions the conventional understanding of still life as inanimate physical object, by exploring the materiality of water. It also celebrates the versatility of water and raises awareness of its presence in our surroundings.
This series of drawings and photographs questions the conventional understanding of still life as inanimate physical object, by exploring the materiality of water. It also celebrates the versatility of water and raises awareness of its presence in our surroundings.
Still life: Animating the inanimate
Clear acrylic gel medium & charcoal on Munken.
Still life: Animating the inanimate
Mixed media.
![Chasing shadows [performance drawing]](https://static.wixstatic.com/media/95ecd5_0e8bee2f3237454a927e40c0a069eeba~mv2.jpg/v1/fit/w_1023,h_768,q_90,enc_avif,quality_auto/95ecd5_0e8bee2f3237454a927e40c0a069eeba~mv2.jpg)
Chasing shadows [performance drawing]
This performance drawing was part of my Over the course of three hours, I moved a bottle of water around the paper, tracing its sunlight projections with candle wax and clear acrylic paint. In order to reveal these marks made over time, I then dropped splashes of watered-down ink onto the page, engaging water in its free and physical form.
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