2019
About Rain, solo exhibition, GFI Gallery, Port Elizabeth

2018
Group show ‘10’ at Riebeek Kasteel Contemporary Gallery
Human Gesture Series along with Donve Branch Ceramics National Arts Festival, Fringe, Grahamstown

2017
Co-curated Modern Miniatures exhibition , National Arts Festival
Featured artist for Heritage week at the St Georges School, Port Elizabeth

2016 
Solo show Fragments of Land, William Humphreys National Art Gallery, Kimberley
Solo show Fragments of Land, National Arts Festival Grahamstown

2015
Art work selected for Bouchard Finlayson Tondi Exhibition , Hermanus Fine Arts Festival

2014
Terroir – a sense of place, Liebrecht Gallery
Dialogue of Two Minds – National Arts Festival July Grahamstown

2013
Participation in various group shows including:
Facing the Future Liebrecht Gallery Somerset West,
Miniatures Exhibition , PE and National Arts Festival, Grahamstown

2012 
‘Four Rooms’ Solo show , Ron Belling Gallery, Port Elizabeth
Participating artist in Expressions 2012, National Arts Festival, Trinity Hall, Grahamstown

2011
Solo show on fringe of National Arts Festival, Grahamstown

2010
Solo show on fringe of National Arts Festival, Grahamstown
Finalist in the Nelson Mandela Metropolitan Art Museum Biennale
Participating artist in Xpressions 2010, Ron Belling Gallery, Port Elizabeth

2009
Solo show at National Arts Festival, Grahamstown

2008
Solo show at Ron Belling Gallery. “ Nature, Nurture & Social Commentary “

2007
African Adornment showcase exhibition at Links Golf Course St Francis Bay
Port St. Francis exhibition with guest potter Brenda Davis and wildlife watercolorist Gillian Graves
Who’s Who and What’s New exhibition at Nelson Mandela Metropolitan Art Museum
Women’s Day Exhibition, Cuyler Street Gallery Port Elizabeth

2006
Port St. Francis solo with guest sculptor Graham Jones, St. Francis Bay
Duo with Rina Badenhorst, Montage Gallery, Port Elizabeth
2 works in Florean Museum, Romania, Carbunari Salon 2006
Solo exhibition at the Ron Belling Gallery,Port Elizabeth.(P.E.), Titled: ‘The Portrait, The Landscape and the Space Between.’

2005
‘Snapshots on Memory’ an exhibition of small paintings Café
Olympia, Hout Bay

2004
Absa L’Atelier Finalist, Top 100 young artists, Absa North Johannesburg
Who’s Who Biennial, Nelson Mandela Art Museum, P.E.
Prominent East Cape Artists, Cuyler Str. Gallery PE and Kimberley

2003
One man show, ‘Postcards from the Edge’, Mythic Home, P.E.
Prominent East Cape Artists, Cuyler Str. Gallery P.E. and Kimberley

2002
Prominent East Cape Artists, Cuyler Str. Gallery P.E. and Kimberley

2000
Two man show with Johan Lombard, Cuyler Str. Gallery P.E.
Image Group ‘A4’ , Fringe of Klein Karoo Kunstefees, Oudtshoorn

1999
Image Group ‘small world’ Fringe of Klein Karoo Kunstefees, Oudtshoorn,
Fringe of Standard Bank National Arts Festival, Old Gaol, Knysna

1998
Image Group ‘counterpoint’ Fringe Klein Karoo Kunstefees, Outshoorn,
Fringe of Standard Bank National Arts Festival, Old Gaol Knysna
‘Down & Out PE’ two man show with photographer Tim Hopwood
Fringe of Standard Bank National Arts Festival
Renaissance Exhibition, King George VI Gallery, P.E.

1997
Solo exhibition, Cuyler Str. Gallery P.E.
Prominent East Cape Artists, Absa Johannesburg
Image Group ‘thirteen’ Fringe of Klein Karoo Kunstefees, Oudtshoorn,
Fringe of Standard Bank National Arts Festival, Nederburg Arts Festival Knysna

1996
Two man show with Wayne Heath, The Fringe, Standard Bank National Arts Festival

1992
First Solo exhibition, Eastern Province Society of Art, P.E.

Bretten-Anne completed her Bachelor of Fine Arts, majoring in painting, at the Rhodes University in 1991. Thereafter she went on to complete her Higher Diploma in Art Education with distinctions in art method, art teaching and art practice. This diploma was also completed in 1993, also at the Rhodes University. 

AWARDS
2015 
Selected for Bouchard Finlayson Exhibition, Hermanus Fine Arts Festival
2010 
‘Perpetrators’ oil on canvas, selected for Nelson Mandela Metropolitan Art Museum Biennale
2006 
2 works selected by Florean Museum, Romania, Carbunari Salon
2004 
Absa L’Atelier Finalist, Top 100 young artists, Johannesburg

Farmer’s Almanac

The Farmer’s Almanac Series is a body of work that explores the use of colours and their combinations and reactions to each other in response to land and its energy fields. Another layer of interpretation of land is in the ‘circuitry’ of these energy fields which course and weave through the land and are particularly bright and active around fertile areas where resources are plentiful.

The journey to the Farmer’s Almanac series started 6 years ago with a solo show at the William Humphreys National gallery in Kimberley titled: Fragments of Land, an exploration of the fragmentation of land through natural phenomenon, mining, urbanization and agriculture. This body of work sparked an interest in colour, its history and meaning.

The next point in the journey was a body of work titled: About Rain, a thematic exploration of rain as a natural phenomenon and its interaction with land. It constitutes a continued research into landscape painting which traces back beyond Fragments of Land, to some of my earliest work. Over two years, through measuring and documenting rainfall, a distinct awareness developed of the impact of rain as a ‘current’ that activates the earth and led to the beginnings of the earth circuitry series, which artistically explores the resonation of colour relationships. The interpretation of rain into image has sparked an exploration into the convergence between representation and abstraction.

In the earth circuitry series, (which deals specifically with the effects of rain on land as activation of productivity) an abstract interpretation of the effects of rain – was influenced by the motif of the circuit board in technology, and is used as a painterly device to interpret the earth as a grid, activated and transformed by rain or the lack thereof, in much the same way as a circuit board is activated by the flow of electricity.

As a body of work, ‘About Rain’ led to the next leg of the journey with the Farmer’s Almanac series, which looks particularly at agriculture and the sensitivities of nature that farmers are attuned to and record. In the past, farmers relied on seasonal information passed down through generations in a farmer’s almanac, today it is recorded and accessible through technology. Technology in turn has optimized farming. The circuit board is used again as an interpretive device and this time explores colour and the use of line as an abstracted interpretation of an electro-magnetic energy field which converges on a farmer’s hub or mother board.