2020
Vertical Animal. Sculpture on the Cliffs – Fynarts Gallery, Gearing’s Point, Hermanus.

2019
Sculpt X. Melrose Art Gallery. Curated by Megan Theunissen and Ruzy Rusike, Johannesburg.
Wathint’ Abafazi, Wathint’ Imbokodo UNISA Art Gallery, Pretoria.
Babies, Grande Provence, Cape Town.

2018
Corobrik National Ceramic Biennale Curated by Henni Meyer, Rust en Vrede Gallery, Durbanville.
International Ethics Conference, Curated by Dr. Gwenneth Miller, Spier Conference Center, Cape Town.
Art as Destination, Curated by Antoinette Odendaal, Dr. Gwenneth Miller & Jacob Lebeko, Pretoria.

2017
Angels. Grande Provence, Franschhoek.
SA Ceramics. Opening address by Prof. Pippa Skotnes.
20 year Anniversary. Knysna Fine Art, Knysna.
Sticky time. Curated by Dr Gwen Miller. St Lorient Art Gallery, Pretoria.
Winter Show. DF Contemporary, Buchanan Square, Woodstock, Cape Town.
Visceral at Equus Gallery, Cavalli Estates, Cape Town.
ArtAfricaFair. Waterfront. Cape Town.

2016
Storytime. Gallery2, Parkwood, Johannesburg.
Regional Ceramic Exhibition. Stephen Welz & CO Great Cellar, Alphen Estate, Cape Town.
Interlude. Upstairs@Bamboo, Johannesburg. Curated by Carol Lee.
Turbine Art Fair Johannesburg. Curated by Carol Lee.
Animals. Tokara, Stellenbosch. Curated by Ilse Schermers.
THATARTFAIR. (Suzette and Brendan Bell-Roberts) The Palms, Woodstock.
Aeipathy. Equus gallery, Cavalli Est.
Christmas Show. IS Art. Franschhoek

2015
Alphen Outdoors. Curated by Wilma Cruise.
Portfolio. Upstairs@Bamboo. Curated by Carol Lee.
Soul Food. The Studio, Kalk Bay
CityWalk – Cape Town Partnership. Project by Didi Ntsai + Andrew Putter. Company Gardens.
Princess and the Veld. KKNK, Oudtshoorn Curated Adele Adendorff
‘Shredded Paper’ at Deleuze & Gauttari in Africa Conference. University of Cape Town (UCT)

2014
Land Art (Curator + Artist). Noordhoek Common with Strijdom van der Merwe, Wilma Cruise, Janet Botes + others.
Equus at Equus Gallery, Cavalli Estates, Cape Town.
Outdoors at Alphen. Constantia, Cape Town. Curated by Wilma Cruise.
Skulduggery. Cape Town. The Studio Kalk Bay.
Music and Lyrics. Durbanville. Rust-en-Vrede Gallery.
Art of Objects. Cape Town. The Studio Kalk Bay.
Turbine Art Fair. Johannesburg. Lovell Gallery.
What Lies Beneath. Equus gallery, Cavalli Estates.
Fried Autumn Art Fair, Fried Contemporary, Pretoria.

2013
September 26 – October 19. Sculptors@Fried, Pretoria. Prof. Elfriede Dreyer
World Art, Association of Arts, Pretoria.
Fried Autumn Art Fair, Fried Contemporary, Pretoria.

2012
Art in Clay. Grande Provence, Franschhoek.
The Painted Word. Grande Provence, Franschhoek.

2011
Angels 6. Grande Provence, Franschhoek.

2010
Painters Who Print Exhibition. Grande Provence. Franschhoek.
Bodies in Transition. Fried Contemporary. Pretoria.

2008
Skin To Skin. Standard Bank Gallery.
Skin to Skin. Kaunas Lithuania. International Textile Biennale.

2007
Fibreworks Ten. Nova Constantia, CT. Participant of X-Cape/TransCape Exhibition.
‘Boerekitsch en Ander Dinge’. Curated by G. Froud. KKNK, Oudtshoorn.

2006
Innovative Threads, Nova Constantia, Cape Town.

2004
The Brett Kebble Awards. Cape Town Convention Centre. SA
History of Conflict, Future of Hope. Frazier Mus. Kentucky, USA
‘Gravados and Fotografias’ Galeriazero. Barcelona

2002
I.D.OLOGY. Axis Gallery. New York. USA
Innovative Threads. Curated by Margie Garret – Travelling Exhibition. Nova Constantia, Arts Association, Bellville, Durban Art Gallery, Vincennes, Paris, France

2001
‘ydetag’, Curated by Andrew Putter. South African National Gallery.
Manuscript 3. Curated by Anna Varney. art on paper, Melville and Boekehuis, Auckland Park, Johannesburg
Manuscript Exhibition 3. Part of Word Stock. Grahamstown Festival.
Weft & Warp. Curated by Justine Lipson. Civic gallery, Johannesburg.

2000
Cross-cut Criss-cross. Duo Exhibition with Gwen Miller. Millenium Gallery, Pretoria
Trauma and Violence. Curated by Frieda Hattingh. Unisa Art Gallery, Pretoria
Manuscript Exhibition 2000. Curated by Anna Varney. Travelling Exhibition. Boekehuis, Auckland Park and Centre for the Book, Cape Town. 
Cloth Worker’s Coalition Exhibition. Co-curated by Karin Lijnes. African Window, Pretoria.
Manuscript Exhibition 1. Curated by Anna Varney. Carfax, Johannesburg.
Eco-shrine Exhibition. Curated by Di Graham, Hogsback.

1999
Postcards from South Africa. Axis Gallery, New York, USA. 1999. Leonardo Posted. Arts Association Pretoria and Absa Bank, Johannesburg.
Objekt Buch, Ludwig-Uhland- Institut fur Empirische Kulturwissenschaft an der Universtat Tubingen.

1998
Women’s Voice. Curated by David Koloane for Daimler-Chryslar. Travelling Exhibition: Mercedes Benz Museum, Stuttgart; Volkerkundemuseum, Hamburg; Gallerie Seipple, Koln; and General Consulates, Munchen.

1997
Tembisa Art Exhibition. Kempton Park.

1996
New Signatures, Pretoria art Museum

1995
New Signatures, Pretoria Art Museum
Artists from greater Pretoria, Unisa Art Gallery

1993
Momentum Exhibition, Pretoria Art Museum
Painters and Sculptors. 1963-1993. Pretoria Art Museum.
Artists from greater Pretoria, Unisa Art Gallery

1992
Duo show with Joseph Modise, Market Galleries, Newtown, Johannesburg
New Signatures, Arts Association, Pretoria

COLLECTIONS
Willy Woestyn
Trent Read
Analjit Singh Art Collection.
Home Choice Corporate Art Collection. 3 works.
University of South Africa Art Collection, 2 works.
First Rand Bank, Johannesburg. 2 works
University of South Africa Art Collection
University of South Africa Art Collection
Stuttgart Private Collection of Georgia and Lutz Beel, Koln, Germany
Mary Slack Art Collection, Johannesburg (1992)
Sasol Art Collection, South Africa (1992)

AWARDS
2019
Wendy Rohm Literary Agency Scholarship
2017
Wendy Rohm Literary Agency Scholarship
2005
Brett Kebble Finalist
1995
Centre for Science Development Scholarship
1994
Robin Aldwinckle Bursary, Unisa
1992
New Signatures Winner Award

“But I’ve never been a calm blue sea” 

“Most of my work has blue tones, blue-ish glazes, blue images, various blues in paint and inks, and are seen in the argon blue light. In western culture, this colour is often associated with grief, sadness and mourning. Grief is important. I lost my mother recently and many others have also lost dear ones in the pandemic. Grief can be reactivated by the many losses that are part and parcel of life. But, we may grieve those positive images we have had of ourselves that we lose along the way. We grieve the lost parts of ourselves, because we are told they do not matter.

In my art practice, as soon as I begin playing, the alchemical changing of materials and ideas start. This might be seen beforehand in some azure-magenta fragment that catches my eye, a whisper of blue grey, a hint of texture, some intuitive revelation or visual eccentricity that disturbs the surface layer of reality. Through the process of excavation, observing and re-assembling, some unlikely fusions take place. Fusions between the ordinary and the imaginal, the familiar and the unexpected. In this way I can give attention to finding a new reflection of what lies beneath the surface of my sea. My alchemical approach alters some stuck perceptions, heals wounds and connects with love.

James Hillman says those things whose dominant colour is a smoky purple blue, can turn things into the blue power of the word itself, located in the throat of the vishuddha chakra. Blue is an appreciation of mysteries within disconnected things that blend light and dark. Blue is the imagination used to twist the ordinary into a slightly new interpretation.

This can be seen in my ceramic works where the prima materia of terracotta, black clay and stoneware become vessels or carriers of the soul and other things. Blue consciousness is the unlanguaged parts. An embodiment of reflection beyond the single idea and is like having a constellation of stars inside one’s Being. This is the soul. And these works would reflect my soul symptoms which, according to James Hillman, becomes a restructuring of perception and therefore reminders of my purpose and path.

Heraclitus said: “you could not discover the limits of the soul even if you travelled every road to do so; such is the depth of its meaning”