Here follows the opening remarks of long-time colleague, friend and fellow photographer, Peter McKenzie at the occasion of the opening of my exhibition ‘Unsettled: 100 Years War of Resistance by Xhosa Against Boer and British’ at the KZNSA Gallery in Durban, KwaZulu-Natal on the 13th of May, 2015.
“Cedric’s work is for me a form of re-appropriation of the contentious issue land. The creative act of engaging with a skewed notion of land ownership which makes it vulnerable to exploitation and abuse by power is reigned in and harnessed to serve the real needs transformation and racial equality. It renders land with its due, considerable heft. Continue reading →
Photographer Cedric Nunn sees things differently. What’s the well-known lensman’s take on Grahamstown and the Eastern Cape, Sue Maclennan asks.
There’s one regret Cedric Nunn carries with him as he leaves Grahamstown this week: it’s that during his long and successful photographic career, this is the first time he’s managed to work extensively in the Eastern Cape. Continue reading →
Social Landscapes, also called ‘Transitions’, is a French/South Africa Season project. The interview by Jeanne Fouchet here is published in the book ‘Transitions’.
ITV Cedric Nunn
Cedric Nunn uses photography to remind South Africa of the unsuccessful resistance of its indigenous people to the confiscation of their land. Nunn’s photographs not only keep alive the tragic history of land-thefts, but also show how indigenous people remain dispossessed and excluded from their ancestral homes, as the exploitation of the region by global mining and agricultural interests continues unabated. Cedric Nunn took his photography series in the Eastern Cape Province, Grahamstown, Peddie, and Hogsback.
Q. You have always been a socially engaged photographer. How does the series you completed for this project continue that work?
The project I chose for this series was one I was intending to do independently for myself, and indeed, it has just been begun and is in need of a lot more work towards completion. It dovetailed with the “Social Landscape” project and therefore it was imperative to begin with it. Continue reading →