F for Fake 2015 Hand-woven archival ink-jet prints
64 × 90 cm
detail
One of four finalists in the MTN New Contemporaries at the University of Johannesburg Gallery (see link). This exhibition happened shortly after an outbreak of xenophobic violence that spread through South African townships (see link).
work in progress
work in progress
Space Invaders 1 2008 Farming Region map of Zimbabwe hand-woven with the Rhodesian database (see link), coloured thread
82 x 89 cm
The first alien invaders to seize land in the area now known as Zimbabwe were colonial imperialists who became known as Rhodesians.
In the year 2000 in an attempt to rectify this historical imbalance, the Zimbabwean government implemented a fast-track land reform. This involved farm invasions which led to disastrous results for the economy.
Space Invaders 2 2008 Farming Region map of Zimbabwe hand-woven with a Zimbabwean telephone directory from the year 2000, coloured thread
82 x 89 cm
Space Invaders 3 2008 approx. 300 stuffed plastic-weave bags, coloured vinyl. dimensions variable
detail
“The horror! The horror!” 2011 Hand-woven archival prints 113 x 221 cm framed, each panel approx. 87 x 61 cm
(Joseph Conrad’s Heart of Darkness woven by Bienco Ikete, a Congolese refugee currently living in South Africa.)
detail
detail
detail
Glenfiddich Residency in Dufftown, Scotland 2010
Having worked with the Chinese-made plastic-weave bags that have become synonymous with refugees around the world, I was interested in investigating the tartan pattern found on these bags. Furthermore I wanted to make connections between this and the famous Scottish tartan.
I commissioned Johnstons of Elgin, a well-known manufacturer of tartan in the area to help me to translate the cheap plastic-weave from the bags into a high-end tartan fabric – a refugee or immigrant tartan.
In the North East of Scotland there is a dialect called Doric, and a common expression is ‘furryboots ye fae?’ meaning ‘whereabouts are you from?’
So to personify the expression, and being a foreigner, I posed in some furry boots, a furry sporran made of seal fur, and a great kilt made from the immigrant tartan fabric in the centre of Dufftown.
I also worked on another project that involved using whisky barrels situated at Glenfiddich’s cask compound. These barrels come from the bourbon industry in America and the makers of sherry in Spain.
I painted 1020 of these barrels to create a large scale installation based on one repeat of the pattern in the bag’s weave. Using each barrel to form one stitch in the weave, I produced a massive version. Visible from an aerial perspective, this map could be seen by Google maps, and possibly by aliens not of this earth.
also see: artthrob video and artthrob interview
