This article was published in the December 2011 issue of Umlando which is the heritage publication of Ethekwini Municipality, to coincide with the showing of my exhibition ‘Convergence’ at the KwaMuhle Museum, which falls under the municipality. Follows:
The exhibition ‘Convergence’ consists of two bodies of work from my photographic career; ‘The Hidden Years’ and ‘In Camera’. ‘The Hidden Years’, consists of a series of images which show aspects of society in KwaZulu-Natal, which I felt was ignored or given little attention. The exhibition was shown at the KwaMuhle Museum in 1995, and the entire show was acquired by the museum at the time. It has been my great pleasure to have this work in KwaMuhle’s collection since it has been given exceptional exposure through the museum.
‘In Camera’ was produced in conjunction with the Apartheid Archive Study Project (www.apartheidarchive.org) in 2009, and looks at South African society, focusing particularly on KwaZulu-Natal and elements of apartheid which continue to manifest in our society to this day. Continue reading →
This is an essay I wrote for the Msunduzi Museum magazine ‘Ulwazi’, related to an exhibition of my photographs which they hosted and showed in their gallery space. The photographs were commissioned by the Pietermaritzburg Agency for Community and Social Action (PACSA), a rare commission in today’s South Africa;
In about May 2014 the Pietermaritzburg Agency for Community and Social Action (PACSA) approached me with a request to participate in their annual Film Festival and produce an exhibition of still photographs, which would frame the festival, based on their theme of ‘People Live Here’.
We discussed the broad streams or thematic aspects, such as income generation; services such as electricity, water and sanitation; gender, youth, food and health, and based on these considerations around which PACSA delivered its services, the focus of the project evolved. I had carte blanche in who and where I photographed, which is every documentary photographers dream. PACSA were keen for the photographs to reflect more then their actual work and rather the context in which their work emerged and evolved. Continue reading →