ARTIST STATEMENT
In commemoration and remembrance of SS Mendi and South African Native
Labour Corps Supported by Department of Cultural Affairs and Sport, uct’s
Centre for Theatre, Dance and Performance Study.
ARTIST STATEMENT
I am a German-Luxembourgish artist based in Amsterdam. My work moves between color, fashion, and storytelling.
With a background in high fashion — having worked with houses such as Louis Vuitton and Karl Lagerfeld — I developed a deep sensitivity to craftsmanship, material tension, and visual precision. Today, I use that foundation to construct something more personal: a language of color that translates sensation into form.
I am a synesthete. I experience sound, memory, and emotion as color. A song becomes a gradient. A conversation becomes saturation. An experience or feeling becomes colorful movement. My abstract color studies and large-scale gradient works are translations of these invisible frequencies — immersive fields of chromatic energy.
This new body of work explores vibrancy as a living force — the energy of a horse, the spirit of freedom it carries; I am painting atmospheres. I am interested in how light vibrates inside the body, how color can feel tidal, how saturation can hum.
Alongside my abstract practice, my mixed-media collages dissect pop culture, luxury, intimacy, and power. I layer personal notes, WhatsApp fragments, and newspaper clippings into dense visual narratives. Beauty acts as a lure — drawing the viewer inward before revealing reflections on identity, female agency, and the contradictions of modern visibility.
Beauty, for me, is never passive. It vibrates. It hums. It moves.
In Motion is about energy that cannot be stilled — only directed.
ARTIST BIOGRAPHY
Laura Stöckl is a German-Luxembourgish artist based in Amsterdam. With a background in high-end fashion design, she previously worked for houses including Louis Vuitton, Karl Lagerfeld, Matthew Williamson, and Liebeskind Berlin. This foundation continues to inform her sensitivity to craftsmanship, materiality, and visual structure.
For over twelve years, Laura has been selling her work while steadily refining a distinct artistic language. In recent years, she has fully committed to her independent practice, focusing on a fusion of fashion sensibility and painterly exploration centered around color, form, and conceptual material reinvention.
As a synesthete, Laura experiences music, emotion, and memory as color. This perceptual layering shapes her abstract color studies on paper and large-scale gradient works on 3D-edge canvas — immersive compositions that translate internal sensation into atmospheric fields.
In her large-scale mixed-media collages, she weaves together pop culture, luxury, and personal narrative. Personal notes, WhatsApp fragments, and newspaper clippings are meticulously layered into dense visual compositions that examine identity, female agency, and contemporary societal imbalance.
In 2020, she introduced her signature motif, Löwie — derived from the German word for “lioness,” a childhood nickname that evolved into a symbol of autonomy and creative independence within her work.
Following two solo exhibitions in Amsterdam in 2024, Laura’s international presence expanded significantly in 2025. She exhibited with Youngblood and Rare in Cape Town, created an art collaboration with Archives Du Temps in Brussels x Cartier in November 2025, and will present an upcoming solo exhibition at APPIE in Amsterdam in May 2025, also in collaboration with a local fashion house.
ARTIST STATEMENT
When I think about the space we occupy as humanity, I see a world filled with a culture of ritualistic behavior at any given moment. By rituals, I mean not only ceremonial practices but also the everyday acts we perform out of habit or necessity—actions that, over time, become reflections of our identity and culture. In the mundane, we become so entangled in the business of living that we often forget to pause and marvel at both the intricacy and simplicity of life in equal measure.
In this body of work, I attempt to capture a fraction of a millisecond in the lives of ordinary people I encounter in their state of ritual along the Atlantic Seaboard in Cape Town. They come from all walks of life, yet they are drawn to this shared space by the presence of the ocean. This dance, this fleeting moment in time, mirrors my own journey of seeking connection and understanding through photography, where I am both an observer and a participant in these rituals.
My approach focuses on capturing these moments in relation to the ocean—its rocks, its vastness, and the comfort and familiarity it offers in accommodating human behavior. I use the natural environment of the Atlantic Seaboard to frame human rituals, highlighting their timelessness. What struck me most was that, during my own ritual of walking and photographing, I found myself in an unspoken dance with others who had chosen the same time to be by the ocean’s side.
Through this body of work, I invite viewers to pause—to see the extraordinary in the ordinary—and perhaps reconsider the rituals in their own lives, appreciating them with fresh awareness and significance.
ARTIST BIOGRAPHY
I am Frank Malaba, a photographer who encapsulates the poetry of human life through my lens. Born on the highveld savannah of Bulawayo, Zimbabwe, my journey has taken me from the vibrant landscapes of Cape Town, South Africa, to the serene fjords I now call home in Oslo, Norway.
My work explores the essence of daily existence, capturing the simplicity and beauty of mundane moments with a keen eye. Through my photography, I weave a connection between my creative process and the lives I portray, crafting a visual narrative that echoes the rhythm of both individual and collective experience.
With each image, I invite viewers to pause—to truly see and appreciate the often-overlooked moments. My work celebrates our shared human experience while prompting reflection on the common threads that define who we are.
concieved and conceptualised by Mandla Mbothwe
ARTIST STATEMENT
Sibebanye no SS Mendi”
Rob’s craft in fashioning surreal photographic moodscapes and Mandla’s unique ability to create worlds that transform dreams into live performance form a powerful synergy—a collaboration that pushes both their chosen forms toward new and unpredictable testing grounds of ideas and energies. Their stories unfold through a culmination of live-action production images, re-conceptualized and molded into dreamlike moments that transcend time, emerging as surreal representations of inhibited memories. The outcomes are never predetermined but develop organically through observation, collaboration, and dialogue.
At the core of their process is the belief that ideas should never be fixed in place but rather disrupted, combined, and reassembled—an ongoing journey toward understanding and discovery that binds their differing creative paths.
“Sibebanye no SS Mendi” is the direct result of years of collaboration with multiple artists, each playing a significant role in exploring the deeper meanings and aesthetics that inspire this work. We do not choose stories; they choose us. And when they do, we must become still—open to understanding them beyond our material and intellectual limitations. They call on us to listen with inexperienced intelligence, to humble our spiritual sensitivity, and to surrender to their wisdom.
This work is a pictorial resurrection—one that seeks durability, embraces and foregrounds identity and self-worth, and humbly opens the heart to the gift and wisdom of memory.
May this collection mark the next step in our excavation of memories, language, and the politics of translation.
ARTIST STATEMENT
Through my work, I seek to challenge the silence that enables patriarchy to persist and to inspire meaningful social change. My portraits of women celebrate diverse cultures, highlighting their shared experiences under patriarchal systems. Initially, I focused on anonymous women, but as my work evolved—particularly after the tragic case of Rebecca Cheptege, who was set alight by her life partner during Women’s Month (August)—I felt compelled to broaden my scope to include both her story and those of other notable women.
Patriarchy operates in subtle yet pervasive ways, especially in the workplace, where issues such as the gender pay gap and male intimidation persist. Women are often expected to remain nurturing, silent, and compliant—even in professional environments. These deeply ingrained expectations, rooted in patriarchal norms, are recurring themes in my art.
Inspired by Penny Siopis, I employ an innovative technique of layering tissue paper with wood glue to create a textured, durable surface. This method symbolizes the many roles women are expected to fulfill and the unwritten rules of patriarchy. The trauma inflicted by patriarchal systems often becomes embedded in women’s bodies at a cellular level, reflecting generational struggles passed down through mothers and grandmothers (Chopra 2015; van der Kolk 2014).
My medium includes charcoal, oil pastels, oil paint, acrylic paint, and spray paint, combined with printed tissue paper. I incorporate sewing pattern lines, arrows, words, and symbols into my portraits to suggest facial contours and shapes. Over time, I discovered how intuitively placing tissue paper allowed my images to evolve organically. What began as a tool for outlining hair transformed into a painting process where layered tissue paper creates tonal values, adding depth and texture to each piece.
vIn Boardroom Angel, unprinted tissue paper from sewing patterns is layered over printed lines, words, and instructions in the initial stages of the portrait. These layers obscure underlying details, symbolizing the invisible structures of patriarchy. The partially covered faces reflect the limited representation of women in corporate spaces, where their voices are often muted or diminished. This layering technique also addresses how women, constrained by patriarchal systems, sometimes silence themselves to gain acceptance or protect the men around them.
In Silent Strides Against Shadows of Patriarchy, I reimagined the outline of hair using lines cut from sewing patterns, creating a flat, graphic style. This subverts unattainable beauty standards that reduce women to “trophies” in patriarchal society. Similarly, in A ‘Good’ Woman Is a Silent One, I obscured the background with translucent Ivory Black oil paint. After it dried, I used sandpaper to scrape away parts of the paint, exposing the textured surface beneath. This abrasive process represents the historical erasure of women and their contributions.
In Burning Heart, I used a single tissue layer to produce subtle tones and textures. For this piece, I experimented with altering the hue of the tissue paper using charcoal and smoke. I dampened the tissue paper and scorched its edges over an open flame, integrating these burned elements into the portrait. This act directly reflects the violence endured by Rebecca Cheptege, whose tragic story inspired the work.
The square and rectangular formats I use are deliberate choices, symbolizing the rigid structures of corporate and patriarchal systems. To me, the square embodies male tendencies—rigid, confined, and unyielding—while curves might suggest feminine sensibilities. The square’s rigidity mirrors the inflexibility of a society steeped in patriarchal values, perpetuating structures that often oppress and constrain women.
ARTIST STATEMENT
Red and blue are the most common colours we encounter around the world. Usually, red represents danger, while blue is associated with calmness. My personal preference is red, because it represents both vitality and warning — energy and power, courage and dominance — often increasing heart rate and demanding attention. It has the power to influence emotion. Like love and pain, both can be expressed through the same colour.
Many times, anything red attracts my attention more quickly than other colours — like the girl in the red dress or your favourite fast-food restaurant. In this collection, I use red to strike a sense of self-assurance and love.
With the colour blue, I aim to express deep, honest emotions, such as depression and peace, and its ability to shift from negative states (sadness, aloofness) to positive ones (serenity, dependability), depending on context. Blue has the power to take you from one place to another without physically moving.
ARTIST STATEMENT - February 2026
This exhibition brings together a new body of paintings in which Cupido responds directly — and unapologetically — to the fractured realities of contemporary life.
Cupido’s starting point is the world as he encounters it: the art world, politics, religion, and lifestyle culture collide on his canvases. The works reflect a landscape where certainty has dissolved and positions are constantly questioned. Is art still in the eye of the beholder? Whose politics do we align with? Do moral absolutes exist, or has everything become negotiable?
“There is a sense that everyone is on a battlefield,” Cupido suggests, “but no one really knows who — or what — they are aiming at.” This atmosphere of confusion, noise, and contradiction is central to the exhibition. Rather than offering answers, Cupido exposes the tension itself, using painting as a space where ambiguity is not only allowed, but necessary.
Visually bold and conceptually direct, Let Me Tell You Something continues Cupido’s exploration of contemporary identity and belief systems, pushing beyond comfort zones without slipping into spectacle. The works are confrontational at times, ironic at others, but never neutral. Indifference, in this case, is not an option.
ARTIST STATEMENT
“With this show, I explored painting in a more impulsive way, focusing less on the image itself and more on the concept of painting and my narrative. My narrative has always been, and continues to be, a reflection of the impact your environment has on you. With each portrait, I aimed to reach the heart of the subject and uncover its soul by embracing a more instinctive approach to painting.”
ARTIST BIOGRAPHY
Dion Cupido (b. 1973) grew up in Mitchells Plain, South Africa. Largely self-taught, he has journeyed from a teenager creating graffiti on the walls of the Cape Flats to becoming a respected contemporary artist. Cupido discovered his talent for painting in 1990 while helping a friend with a school project, and his first paintings were exhibited in 1998. In 2003, he joined the Arts & Media Access Centre’s (AMAC) professional development program, where he won the Truworths AMAC Academy of the Visual Arts award.
By 2013, ArtSouthAfrica, the continent’s most influential and widely read arts magazine, nominated him as a Bright Young Thing. Around this time, he experienced an important realization about his work: it often evokes thoughts and memories in viewers.
“I realized that our biased memories do more than simply present us with images of our personal history. They also shape our sense of who and what we are. In doing so, they guide us toward forming opinions about ourselves that may not be entirely accurate. As a result, they often limit us to experiencing life only as we think we know it,” says Cupido.
Today, Cupido’s work combines abstraction and portraiture, incorporating street art techniques to delve into themes of memory and identity. Writer and art historian Ashraf Jamal has observed that Cupido “represents the very newly minted post-transitional moment in South African art; a moment in which our dark history and its democratic afterglow are both beside the point.”
Cupido lives and works in Cape Town, South Africa.
ARTIST STATEMENT
Cape Town-based artist Buhle Nkalashe has always been interested in his African cultural heritage, the visual elements associated with it, and how it is evolving in response to a developing and changing world. Nkalashe uses his paintings to explore traditional patterns and contribute to more contemporary versions of cultural expression.
As events and trends come and go, we are constantly influenced and as a result, evolving. For this reason, even sacred cultural practices and aesthetics change over time.
“I chose to portray many of the figures facing backward. This is to show that they are leaving a legacy far more important than money – rather an evolution of new ideas. They inspire a different outlook on life in the way that we view ourselves and contribute to our culture. To me, they are looking at something far greater than their expectations and are moving toward that light to reveal what they are destined for,” says Nkalashe.
ARTIST STATEMENT - February 2026
Hear Me is about how meaning gets lost in a world full of noise, images, and too many choices. It looks at love, trust, and conflict, and how they’ve changed over time. This is my message of advice to every generation.
Overall, my collection is about slowing down, questioning what we’re told, and learning to listen — not just with our eyes, but with intention and feeling. In a world where life is hard enough, our decisions shape generations, whether we believe it or not.
Hear Me!
Love, Distorted
My generation
Represents how love isn’t what it used to be. With so many options and constant access to new people, loyalty feels weaker and commitment feels temporary. The broken wording reflects how love has been changed, edited, and often treated as disposable.
Seeing isn’t believing
The new generation
Speaks to how easy it is to believe things at face value. We’re shown so much every day that it’s hard to know what’s real and what’s controlled or fake. The work is a reminder to question what we’re being fed.
Wars we didn’t choose
Old generation
Represents wars and conflicts that are passed down rather than chosen. They speak to a generation that is tired of being handed violence, beliefs, and problems that don’t belong to them. We choose love, kindness, compassion, respect, and equality in all walks of life.
The Bare Bear sculptures
For all generations
The Bare Bear sculptures show the difference between thinking and feeling. One bear exposes a brain, symbolising logic, overthinking, and being shaped by outside voices. The other exposes a heart, representing emotion, vulnerability, and intuition. Together they ask whether we listen with our heads or our hearts, and how that shapes everyday life in different ways.
ARTIST STATEMENT
My name is Ashley Algeria Ferreira, otherwise known as That’s Ash. I was born and raised in the East of Johannesburg. I love all things colourful and vibrant. As a child, taking things apart to change their appearance was an everyday adventure — I needed to ensure everything I owned was unique to me.
When Covid struck, I had the unique opportunity to reflect on my life, and I decided to make a bold move to Cape Town with no clear direction or intention. Here, I discovered my true passion for creating through spray painting, painting, and sculpting. I’ve since been able to bring my imagination to life in unique ways.
As a versatile artist, I am driven by the exploration of diverse materials and mediums, ensuring that each piece I create is one of a kind. My work spans a wide range of styles, from vibrant, colourful compositions to textured, technical designs. I take great satisfaction in the entire creative process, from conceptualising and crafting my artwork to refining each detail. Embracing a hands-on approach, I believe in experimenting with every possibility and dedicating myself fully to each project I undertake.
My true passion blossomed when I created my own character, Bare Bear. From the first sketch, I knew this was the one. I have since brought him to life in sculptural form and continue to create entire collections dedicated to this character.
ARTIST STATEMENT - February 2026 Exhibition
Listen | The Sound of Freedom explores listening as an act of courage, empathy, and transformation. In this Origami Butterflies collection, JooJ uses thousands of individually folded butterflies to visualise how freedom is not declared by one voice alone, but formed through many — layered, fragile, and powerful when united.
The butterfly, a recurring symbol in JooJ’s practice, represents change, hope, and the quiet strength of repetition. Each fold is intentional, echoing the idea that freedom is built patiently, moment by moment. When assembled, these delicate forms create dynamic movement, suggesting voices in motion — rising, converging, and resonating beyond the individual.
The Madiba work anchors the collection. Mandela’s legacy was shaped as much by his ability to listen as by his ability to lead. His belief in dialogue, reconciliation, and collective dignity is translated here into a living surface of butterflies — a visual chorus that speaks to unity, resilience, and the enduring power of humanity when heard.
The Silence Before Climax is the collection’s most explicit provocation. It captures the suspended moment just before surrender, when breath is held, bodies pause, and everything is possible. Here, silence becomes erotic, powerful, and destabilising. The butterflies hover on the brink of motion, transforming anticipation itself into spectacle. JooJ suggests that climax is not the point — the tension before it is where truth lives.
The two circular compositions extend this dialogue. The circle, a symbol of continuity and wholeness, reflects freedom as an ongoing conversation rather than a final destination. These works suggest rhythm and return — the idea that listening is cyclical, shared, and essential to collective growth.
Across Listen | The Sound of Freedom, JooJ invites viewers to pause, to listen beyond noise, and to recognise freedom not only as a historical achievement, but as a living, shared responsibility, carried forward through presence, compassion, and connection.
ARTIST STATEMENT - January 2026 Exhibition
This collection exists mid-movement.
Familiar printed images on metal, then painted, interrupted, and reworked.
Fused with Origami Butterflies in an Infinity Loop, the rhythmic section, form in perpetual motion, folding time back on itself.
Transformation doesn’t end, it repeats, mutates, evolves.
Interlaced with a layered South African Flag, thousands of Origami Butterflies function as a story still being written. Built up, fractured, and replayed, it reflects a nation and an identity in flux, complex, unfinished, and alive.
These works hold tension between past and present, structure and improvisation.
The ghosts remain, not as nostalgia, but as echoes that push the composition forward.
There is no final note.
Only continuation.
ARTIST STATEMENT - August 2025 Exhibition
The Cosmos
Derived from the Greek word Kosmos, meaning “order,” the inspiration for this collection comes from the cosmic interplay of chaotic colors and manic energy that ultimately finds harmony and balance. It’s a journey that reflects both the past and the future, weaving them together in unison.
When do you know you’re done?
This question became increasingly relevant over time. In researching Pablo Picasso, I discovered his philosophy: a piece is never truly finished until it finds a new home. He would continue painting, layering more onto the canvas, to the point where some of his works were caked in paint. Inspired by this perspective, the birth of this universe felt much like the Big Bang—an explosion of creativity.
Windmills of the Mind: 7 Deadly Sins
A Capetonian Guinness World Record holding artist that works in a unique medium & loves film, reading & art history. JooJ paints, cuts & folds thousands of Origami Butterflies & gluesthem to perspex to tell his story.
His Windmills of the Mind series further adds depth to his work by manipulating layers of Perspex to enhance the motion of the butterflies in flight.
JooJ chose to take an emotional route to encapsulate the Nine Circles of hell from Dante’s epic poem that
inspired Dan Brown’s book, Inferno, a profound exploration of our Humanity& an allegory for man’s descent into sin.
