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This October marks a historic moment as Fish Hoek and Clovelly artists collectively welcome the public into their creative spaces for the very first time. Open Studios Fish Hoek & Clovelly (OSFHC) debuts across the weekend of 3-5 October 2025, showcasing 19 artists working from 15 studio locations along four carefully curated routes. Visitors will have the opportunity to forge connections with creators, discover the local area, and experience an impressive range of artistic expressions, including paintings, ceramics, sculpture, papermaking, illustration, textile work, mosaics, and beyond. 

 “We have long admired other Deep South Open Studios, such as those in Noordhoek and Kommetjie, and we realised it was time to crank up the volume in our neck of the woods too, to show the world the depth and breadth of talent living this side of the peninsula,” say the organisers.  

A diverse artistic landscape 

The event brings together an impressive array of established names and emerging talent. Leading the lineup are celebrated figures, including: 

• Carol Hofmeyr, founder of the famed Keiskamma Art Project. 
• Award-winning Ceramicist Sandile Cele, known for pioneering the Zulu Goth aesthetic. 
• Liz Vels, represented in the Wits Art Museum. 

The roster displays multidisciplinary artists and international collections: 

• Award-winning artist Marlise Keith. 
• Sue Kaplan 
• Textile artist Yda Walt 
• Sculptor Mandy Johnston 
• Photographer Jenny Gordon 

The programme also highlights rising and established voices such as: 

• Painters Lauren Shantall, Evan Oberholster, and Sheree Harrison. 
• Paper artists Kyoko Kimura Morgan, and Cathy Stanley 
• Textile artists and designers Susan Didcott of Trip, and Emma and Leila Rowett of Threads That Bind Us. 
• Mosaic artist Mel Miller 
• Illustrator Gerda Smit 

Several artists present versatility across various creative fields while simultaneously contributing to art education: 

• Sasha Scholtz 
• Sue Kaplan  
• Jenny Gordon  
• Liz Vels  
• Kyoko Kimura Morgan 
• Carol Hofmeyr and Evan Oberholster 

What you need to know 

There are four carefully planned routes that guide visitors through Clovelly, Fish Hoek Valley, Fish Hoek Mountainside, and Risi View neighbourhoods. A specially commissioned map by Kyoko Kimura Morgan, produced by neighbourhood printer Zip Print, doubles as both navigation tool and collectible artwork. Transportation between locations is recommended, as some distances are too far to walk. 

Route maps can be collected from AP Jones on Main Road (featuring a special window installation), Sandy’s at Valyland, Zip Print, and the Playhouse on Kommetjie Road. Online versions are available via openstudios.org.za.

Art collectors and dedicated enthusiasts can attend an exclusive preview on Friday, 3 October, with 10% of the proceeds donated to Project Flamingo. | @openstudiosfishhoekclovelly

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Shelflife’s new flagship store at The Barracks is a heritage-fused streetwear haven.

Shelflife’s new flagship store at The Barracks on Cape Town’s trendy Bree Street is more than a retail space; it’s a testament to the brand’s dedication to community, heritage, and vibrant street culture.

In collaboration with TDC&Co (The Design Company), Shelflife spent a year meticulously crafting the concept and design of the new space. The creative brief for the space centred around three concept pillars: site, surroundings, and sub-culture.

The heritage aspect of the 270-year-old building was integral to the design. “All the original stone walls and structural elements were incorporated into the design,” says Mia Senekal, Interior Design Lead at TDC. “Waves used to crash against these walls, and we celebrated and exposed this feature, offering texture and authenticity to the space. We focused on recycled and re-purposed materials and fixtures, maintaining an honesty of materials while referencing the heritage of the site and city,” she adds.

Central to Shelflife’s ethos is its commitment to community. The space is designed to balance the needs of hospitality and retail, making it conducive to gathering, chilling, and activations. “We achieved this through adaptable and flexible logistics, pause and gathering zones, and immersive features and elements,” explains Mia. This vision becomes a reality in the form of Shelflife Café, which offers freshly baked goods, coffee, and a variety of drinks. The café also serves as a versatile space for community events and future collaborations.

Founded in 2006 and originally located on Longmarket Street, Shelflife has transformed from a modest local venture into an internationally acclaimed brand known for its high standards in streetwear, marketing, and retail.

“The journey from our beginnings on Loop Street then Longmarket Street to this iconic location at The Barracks has been nothing short of remarkable,” said Jake Lipman, Brand & Marketing Manager of Shelflife. “Our company turns 18 this year, and it’s incredible that we have had the opportunity to build the store of our dreams – a mature reflection of our attention to detail and meticulous care in design; values align perfectly with the rich heritage of this building.”

Expanding beyond its initial offerings of streetwear apparel, footwear, accessories, and graffiti products, Shelflife now ventures into homeware, showcasing brands like Hay, Studio Arhoj, and Kuumba. | shelflife.co.za

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After nearly 25 years in Johannesburg, ILVE’s expansive selection of cookers is now accessible to enthusiasts in Cape Town.

With its reputation as a “dream cooker” among chefs and design aficionados alike, Captonians will be pleased to know that ILVE has officially landed in the Mother City – the beloved Italian appliance brand has just opened its first Cape Town showroom in De Waterkant. 

Gleaning from decades on the ground in Joburg, ILVE Cape Town’s most valued lesson has been listening to what customers want… and what they don’t. The newly designed showroom exudes elegance and sophistication, boasting a sleek and contemporary space dedicated to providing unrivalled product knowledge and an unforgettable in-store experience.

As a testament to the Italian way of life, the brand has mastered the art of “living well” with a selection of gas and electric appliances. In line with their love of colour, the Cape Town space promises to be an enriching experience bolstered by a cornucopia of shades that best showcase ILVE’s state-of-the-art appliances.

A visit to the new showroom will leave you spoilt for choice – with 210 RAL colours and multiple configurations, you have endless ways to customise your range cooker or built-in appliance. Plus, with a variety of hob configurations and six different trims, you’re guaranteed to find a cooker that speaks to your unique preferences. ilve.com/en-za/

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As the first in its Guest Curation series, Always Welcome invited interior design company HK Studio to reimagine their Cape Town showroom. VISI editor-in-chief Steve Smith sat down with Andrea Kleinloog to find out more about the project.

It’s basically a South African interior design match made in heaven. Take a brand like Always Welcome, whose collective approach showcases SA’s independent designers though their stores in Joburg and Cape Town; add that to interior design experts Andrea Kleinloog and Megan Hesse of HK Studio, who have long been champions of local design – and you can expect some retail design magic.

Working with Always Welcome’s product designers, HK Studio’s curation is all about taking you on a room-by-room journey of southern African design, providing a fresh perspective on and context to the exceptional craftsmanship and design of our local independent furniture, lighting and decor accessories talent. Located in a historic building in the Mother City’s Heritage Square, Always Welcome’s space has been enlivened by Robin Sprong’s wallpaper designs, rich colour combinations and daring contrasts that create a bold, contemporary design aesthetic within a beautifully preserved architectural space.

We had a chat with HK Studio’s co-founder Andrea to find out more about how they tackled the project.

How did the whole project start? What was the brief, and how did you approach it?

“It started with a phone call from Always Welcome’s CEO, Stephen Wilson: ‘I’m thinking of doing this thing. We want you to curate the spaces at our Heritage Square store in Cape Town.’

“We obviously knew the products well, and this was an opportunity to show them differently and shake up people’s perspective. We worked closely with the Always Welcome team, using existing stock and some new pieces, and got to play with elements like wallpaper and art. It was really about re-curating the spaces to how we see things.”

Were you designing these spaces with a potential customer in mind, or did you want to put your own stamp on them?

“It’s a bit of a combo deal. I struggle with too much eccentricity, so our spaces tend to err on the side
of restraint. That’s HK’s natural aesthetic. Having said that, we have become a little more experimental in some of our recent projects. There’s such a nice combination of art, graphics and furniture in the Always Welcome spaces… Let’s call it restrained eccentricity.

“There’s a playfulness in it all – for example, I love seeing artist Paul Senyol’s work that big, blown up as a wallpaper. In a very siloed creative world, where art is art, design is design, furniture is furniture, it’s quite nice to see the lines blur a little. People also tend to get visual paralysis. It’s like when you walk into Woolies, and there’s just so much food that you don’t know where to look. You get that in any cluttered retail space. So we tried to create more focus for potential customers; often, it became a case of removing things to make the spaces look less cluttered.”

You’ve also used some raw materials as decor elements in the spaces you have curated.

“Yes – because we wanted to show the source of the materials used here. So for Houtlander’s Hlabisa bench, for example, I wanted to showcase the woven-grass element. And again, it was just a matter of one phone call. What’s amazing about the local design community is that everyone is so generous.

I called Rowenna Rood from Botanica Flowers, and said, ‘Rowenna, hi, I’m in Cape Town next week – can you do a grass installation on the ceiling of this heritage building for me?’ And she was like, ‘Sure!’

“There’s something magical about being able to show people that something beautiful has been made out of these raw blocks of wood, or this piece of sheet metal, or those bundles of grass. Someone has shown commitment to develop these materials, and we should acknowledge that – acknowledge that they are doing the right thing, that it is good, and that they should keep going.”

We’re witnessing a real golden era of South African design, and it’s great to see an initiative such as Always Welcome showcasing that.

“I totally agree. I think Always Welcome can be the driving force behind this – because the reality is that the industry is made up of bunch of small, independent brands that can’t always afford to market and retail themselves. It’s just not realistic. It’s great to see support behind the smaller, independent furniture designers. I think Always Welcome is taking huge strides towards a more collaborative effort.” hkstudio.co.za | alwayswelcome.store

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Prominent South African ceramic brand Mervyn Gers Ceramics has teamed up with artist Sarah-Jane Jordaan in 2019 to bring her Travelling Willows Series to life as ceramic plates.

Trained as an architect, Jordaan envisioned the Travelling Willows Series through a series of sketches. “The idea behind this project was to use the iconic willow pattern as a lens to capture various cityscapes from around the world where the willow pattern has made itself at home,” Sarah explains. “ After finalising the designs in 2019, I was eager to take these illustrations a step further by transforming them into tangible ceramic pieces. I was particularly excited about the prospect that these new designs would also travel and find their own homes across the world”.

Initially, the collection featured six city designs: Cape Town, London, Tokyo, Sydney, Amsterdam, and New York Willows. During the COVID-19 lockdown, she expanded the collection to include South African cities like Johannesburg, Pretoria, and Durban Willows as a celebration of her home country. In 2023, Cape Town Willow bowls were added, with the potential for further expansion.

Jordaan chose to collaborate with Mervyn Gers Ceramics due to their commitment to being 100% local, handmade, and ethically produced. The handmade nature of their products gives each plate a distinctive character and narrative, allowing you to curate your culinary experience with designs from the Travelling Willows series.

Following the creation of the plates, they introduced the limited edition Cape Town Willow oval serving platter. Only 300 of these platters will be produced, each one uniquely numbered on the back, making them one-of-a-kind, bespoke pieces to stand out on any table setting. “This exceptional rendition of the willow pattern showcases a meticulously crafted panoramic depiction of Cape Town. The generously sized platter serves multiple purposes and makes for an ideal gift for special occasions,” elaborates Mervyn.

Both Jordaan and Gers believe in the transformative potential of collaboration among local entrepreneurs. They find the shared risk in collaboration captivating and look forward to expanding their partnership.

These unique platters are exclusively available through Mervyn Gers Ceramics. For more details about the Travelling Willow Platters, visit mervyngers.com.

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PICHULIK‘s new store at the V&A Waterfront instantly transports visitors to a realm of serenity, a stark contrast to the bustling shopping centre that surrounds it.

The meticulously crafted space embodies the very essence of PICHULIK – a brand renowned for its handcrafted jewellery, contemporary African design, and sculptural forms inspired by feminine mythology.

The vision came to life through a unique collaboration between Katherine-Mary Pichulik, Tracey Chiappini Young and Xandre Kriel. Together, they imagined a space that defied convention, where artistry and commerce would merge seamlessly. The store’s spatial dimensions were carefully crafted using classical geometrical principles, using horizontal lines to draw the eye upward, evoking a reverence reminiscent of a temple or cathedral.

One of the standout features that sets PICHULIK apart is the complete customisation of every element within the store. Traditional jewellery display elements like busts and T-bar stands were intentionally omitted in favour of a more artistic approach. Collaborating with ceramist Belinda Ormond, PICHULIK created the “PICHULIK Deities” – porcelain heads that serve as unique displays for their earrings. The displays themselves are works of art, with ceramic rope gracefully undulating through them, providing the perfect elevation for showcasing bracelets and neckpieces. A Vorster & Braye vessel dipped in pristine white, takes on a new purpose as it showcases the brand’s bespoke bracelets.

“A curvaceous and minimalist sculptural retail environment, that mimics the sculptures of Barbara Hepworth, Constantin Brancussi and Modigliani with the texture and gravitas of classic greco-roman marble artefacts. In contrast to the traditional shopping centre environment, the new store was designed to feel temple-like, serene and elevating. A gentle dance with form and texture- providing an inviting backdrop where the PICHULIK pieces are the focal point,” elaborate Katherine-Mary Pichulik and Tracey Chiappini-Young.

In terms of the collections on display, visitors can expect to explore the brand’s key ranges, exclusive limited edition pieces, and seasonal releases. Every item tells a story and is infused with the brand’s commitment to craftsmanship and contemporary African design.

For entrepreneurs embarking on the journey of designing a retail space, PICHULIK offers a valuable piece of advice: “Your space should align with your brand’s principles and ethos, and it should elevate and hero your work rather than distract from it.” PICHULIK, with its PICHULIK V&A Waterfront Store, has achieved just that, creating a haven of tranquillity and artistry in the heart of the shopping frenzy, a space that showcases handcrafted jewellery, contemporary African design, sculptural forms, feminine mythology, and the creative spirit of Cape Town.

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The brainchild of a family trio, Vadivelu, an Indian restaurant on Cape Town’s bustling Kloof Street, aims to blend tradition with a contemporary setting and vibe.

With the tagline “We are not just another Indian restaurant,” Vadivelu offers a concise and to-the-point offering of delicious dishes in a considered, comfortable and carefully crafted setting. Not fans of the term “Indian fusion,” cousins and owners Jason, Kevin and Tim set to create a space that tells the story of the South Africa-Indian narrative – something that is close and dear to many locals.

Set in a row of Victorian semi-detached cottages, Vadivelu now occupies what was once Manna Epicure. The quaint space provides both inside and outside seating, with a cute street-facing patio for warm summer days and evenings and an indoor original fireplace for chillier nights. “Formally a cottage home until the turn of the century, right at the top of Kloof Street, it’s a beautiful space for a restaurant, with 30 seats inside and another 20 on our sun-worshipping terrace,” explains co-owner Tim Wyatt-Gunning.

When asked about the restaurant aesthetic he elaborates, “Our whole vibe is ‘Indian. With Attitude.‘ It’s all over our branding touchpoints. We are not just another Indian restaurant. We offer a short menu of Southern Indian street food-inspired style like nobody else in Cape Town. Modern, fresh and ever-changing.”

With interiors by Macgregor Forsyth, notably Christo Denyschen and Anri du Toit, some of the standout elements include 3D “graffiti-inspired signage” on the interior wall, bright orange branding on the restaurant roof, a bold, stencilled tiger on the floor on entering the restaurant.

A striking stand-out feature is the dusty pink wallpaper of a jungle scene by renowned local wallpaper designer Cara Saven. Matched with pale wood tables and chairs and Mervyn Gers crockery, each aspect of the design is carefully thought out – not to overwhelm, but to accentuate the dining experience.

Chef Jai studied in Tamil Nadu (the southernmost state of India) and brings this knowledge to the easy-to-read menu. From firm favourites like butter chicken to the more adventurous fish curry and tikka masala, there is something for every palate that highlights the vibrant flavours of the cuisine.

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A Cape Town Creative has renovated a Victorian terrace house in the city bowl, both infusing it with contemporary allure and honouring its heritage roots.

As a visual merchandiser, Sanet Coetzee has honed her talent for creating captivating spaces with a single, well-placed item that sets the perfect mood. And this expertise became a personal passion when she transformed her home in Cape Town into a tranquil sanctuary.

When Sanet first stumbled upon the charming Victorian house, she faced a challenge – it had previously functioned as a boarding house, and featured six cramped and unappealing bedrooms. However, she immediately saw the hidden potential within its walls. “Having experienced apartment living, I was overjoyed at the prospect of having a garden and being on the ground floor,” she says. “While I had no choice but to replace the deteriorating windows and doors, it presented an opportunity to invite in natural light.”

The terrace house required not only the rejuvenation of neglected areas, but also practical improvements. The sash windows were replaced with meticulously crafted ones, and a bold decision was made to extend them up to the ceiling, allowing for mountain views. Additionally, introducing a series of arches infused a touch of whimsy that flooded the ground-floor living space with an enchanting abundance of natural light.

Breaking free from the traditional open-plan layout commonly found in Victorian renovations,Sanet transformed the entrance passage into a guest bathroom, maximising the space by incorporating a pantry for the kitchen right behind it. Also on the ground floor, liveable spaces now transition effortlessly from the lounge to the dining room to the kitchen, where Sanet was immediately drawn to the original small terracotta tiles on the floor, appreciating their simplicity and beautiful range of colours. A palette of pistachio and lemonade-pink was selected to complement this, and the addition of sleek copper handles, a vintage-inspired Smeg gas cooker and minimalist open shelving established an understated foundation, which Sanet adorned with plants, art and an array of intriguing “curiosities” amassed over decades. An unused courtyard has been transformed into an extension of the kitchen, featuring a terracotta-toned gravel floor, vintage furniture and a wall of plants that blend the two spaces.

The dining area and lounge are separated – and linked – by a double-sided fireplace. These rooms house a medley of classic and vintage furnishings, enhanced by table decorations that play with height, dark sheepskin throws that contrast a Persian carpet, and glass cabinets brimming with collectables. A cheeky portion of brick has been left exposed, showcasing the material’s time-worn beauty.

“The house’s neglect became its greatest strength, because most of the original features were untouched,” Sanet says. “I couldn’t believe how beautiful the staircase was, for example – it was just waiting to be brought to life.” She credits architect Alet Barnard with pushing her to play with the concept of arches, and creating an organic opening from the staircase to the lounge and dining area: “It frames the staircase in a way I couldn’t have pictured.”

Upstairs, two bedrooms lead off the staircase, with a landing splintering off to a bathroom with a monochrome palette. Here again, open shelving creates spaces peppered with precious finds. Her good friend and collaborator, stylist Shelley Street, played a vital role in helping Sanet give a fresh look to the furniture in her new home. They got really creative in the main bedroom, introducing a headboard that Sanet’s studio made from a dappled shop counter, decorating it with leafy plants, and adding a touch of elegance with a delicate porcelain ceiling light. All rooms were brought to life with vases scattered around, creating a cool mix of decorative elements.

“I’m loving the transition from an apartment to a house,” says Sanet. “It has allowed me to incorporate more delicate pieces into my living spaces. I never anticipated how much I would enjoy this change – not only because of the extra room, but also because of the opportunity to explore different levels within the home.”

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Ahead of her solo show at WORLDART Gallery on the 5th of October 2023, we decided to catch up with Cape Town-based graffiti artist and painter motelseven to find out what it’s all about.

Give us some brief background about yourself.

I’m motelseven. I’m a female graffiti artist and painter. I had my first show in 2009. After a few shows in Europe, I decided to take a break and focus on being a chef for ten years. I started painting again after a few personal changes in my life in 2020.

Tell us about your upcoming show.

This show is about nostalgia, how our memories get warped with time. The paintings speak of mental health, trauma and anxiety and how it stems from childhood. It’s about growing up and expecting a drastic change, but we all carry that inner child inside of us. We can never really let go of that, and finding peace with it helps us to lay it to rest. There’s a poem by William Wordsworth – intimations of mortality from early recollections of childhood – and he speaks about this strange phenomenon like our innocence and magic get slowly saturated by time, but we still carry it with us.

How did you get to the name?

I can’t say what it’s called just yet, but it’s something that most children, even the ones that follow the rules, have felt in some way or other. Depression and anxiety is such a big problem in our society, and it all stems from one place. We don’t seem to connect the dots often. It makes sense that something has broken in our society when it comes to consumerism and technology. Millennials are a broken generation, but that’s not to say we are not just inherently broken as human beings. I just think we do a lot more self-reflection these days, it’s all got skewed by social media.

Your style has evolved quite a lot over the past few years. How has growing up changed the way you view and create art?

It’s a bit obvious, but with age comes experience and discipline. It was pretty wild that I had solo exhibitions so early on in my life. In a way, it’s an extension of what I’m saying in my upcoming show. We need years to truly understand the meaning of life. I know what I want to share with the world now, and I feel like it’s the right time to do it.

How would you describe your style of work?

My work is always evolving, but for the most part, it’s playful and pensive. I am completely obsessed with anything that isn’t current. I love old cartoons and vintage toys. My paintings aren’t for everyone, but I do hope I can bring across emotion and nostalgia.

Based on nostalgia, do you think people need to stop, pause and look back, in a world that is constantly evolving and future-focused?

I think a lot of us ARE looking back at the moment. Life has been so chaotic and uncertain, it’s comforting thinking back to a time of the Goonies and the Warriors. The only problem with that sort of yearning is that it’s warped by time. There were so many things in the 20th century that totally screwed the world, I don’t think looking back is helpful. We keep forgetting it hasn’t been very long at ALL that we have managed as a society to find a way to be liberal and kind.

Are there any other elements ton your show that go beyond paint on canvas?

There are two cool elements to this show that will definitely make it more interactive and playful. I am working with some incredibly talented and dedicated people who are with me on this journey.

What are your plans for 2024?

I really want to explore my paintings more, I also have a few very cool projects on the go. I always joke how my graffiti and fine art will never meet, but I think at some point they’ll have to. I don’t see myself in kitchens for the foreseeable future, so I’ll just be focusing on making cool things that will hopefully bring people joy.

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Local artists Lien Botha and Jaco van Schalkwyk combine their talents in a joint exhibition titles After Nature, running at the Barnard Gallery from 31 August 2023. They chat to us about collaboration and the connections between their artworks.

In many ways, it seems that your upcoming joint exhibition After Nature, opening at Barnard Gallery on 31 August, is a long time coming given your shared interests and commitment to collaboration in the arts. Please would you tell us a bit more about the specific motivation for this project and how you hope it will be ‘read’ by those who will encounter it?

Lien Botha: It is interesting to note that both Jaco and myself were artists in residence on the German Island of Sylt during some stage of our careers, so perhaps our alliance was presaged by that sediment of the Wadden Sea. During the Cape Town Art Fair in February 2023; Alastair Whitton, fellow artist, and art director at Barnard, suggested such collaboration and when we started the discussion in April, it soon became evident that our individual processes and concerns were part of a symbiotic drift. The ‘reading’ Is best described by writer and exhibition text contributor, Vernon Head, as an “interconnected offering made into an aesthetic story; our desperate story of our last place for hope; our intrinsic belonging; our wild identity fashioned in the words of art. “We have specifically explored the juxtaposition of differing scales, and the ‘timbre’ of the exhibition is one of toned-down colour, which will hopefully underscore the contemplative nature of this collaboration.

Jaco van Schalkwyk: I have been particularly interested in collaborating with fellow artists the past few years; I believe brainstorming and conversations between different artist’s work are valuable to the art discourses of our times and society in general. Such is the case of collaborating with Lien Botha, an artist whom I greatly admire. I also see the gallery as a collaborative partner, discussing themes, negotiating the exhibition space, curating the works and planning the installation and the architecture of a proposed exhibition.

I have often noted the subtle but clear connections between your works. Although operating in distinct mediums there seem to be a number of points of commonality. Perhaps most evident is your shared interest in, and celebration of the natural world – a concern for and commitment to ‘conservation’ in the broadest sense. Furthermore, you both have an abiding fascination with Natural History museums, ‘Cabinet of Curiosities’ and natural science in general. Perhaps you could each elaborate a bit more on this?

Lien Botha: I have always worked primarily from my environment: the physical landscape as well as the internal landscape, and from this wide space comes small moments and events that can trigger an idea or concept. It is usually the ordinary that informs my work: love, loss, the memory of an ancestor, the life cycle of an insect. The world is an intricate place, fluctuating between order and disaster. But yes, you are right. . . . I have often found solace In Natural History museums.

Jaco van Schalkwyk: Lien and I are both inspired by nature and the conservation and documentation of our natural environment in South Africa and beyond. We both like to travel and document our experiences in nature, also visiting Natural History museums and so-called ‘Cabinet of Curiosities’ when the opportunity allows. I have been aware of this mutual interest for quite a while and was particularly inspired by Lien’s ‘Wonderboom’ project and publication that coincided with my solo exhibition “- arium” at Barnard Gallery in 2017. I also believe our love of storytelling is something that our work has in common – Lien through her photography and writing and for myself the juxtaposing of different paintings in series, groupings or installations. The exhibition title ‘After Nature’ also describes this commonality in our work; it could mean an apocalyptic ‘after’ we (humans) have destroyed nature on this planet, but also “ to paint or record after nature” ( i.e., realism and the imitation of nature). Lien’s recording of museum dioramas and the monochromatic palette of my works is not always ‘true to nature’ though. This almost creates an ‘otherworldly’ feeling or a constructed ‘new world’. My larger landscape painting compositions almost become backdrops or potential ‘new habitats’ for Lien’s juxtaposed bird images.

Lien, would it be fair to say that your photo constructions are of a poetic nature and how does your parallel role as an author impact or influence the way you make visual images?

Lien Botha: In a sense, the camera is both container and mediator which allows one to venture into the world and collect clues that could become part of a chronicle. I have also been intrinsically drawn to the ritualistic aspect of the medium: gathering material and equipment, observing weather reports for outside shoots, getting up early, waiting for light, clouds, or the right season. The dovetailing of image and text, which I realized in my first novel ‘Wonderboom’ (2015), remains a focal point of my practice.

Jaco, although you don’t consider yourself a photographer, you routinely use a camera as a tool in your practice. Perhaps you could expand on the relationship between your paintings and your use of photography in developing your compositions?

Jaco van Schalkwyk: My process always starts with photography, since I am a realist painter and take photos as reference wherever I go, and I also document my immediate environment. I print many of these photos to juxtapose in the studio(sometimes in strange ways to create new landscapes altogether). Sharing these photos and collages with Lien was also the way we brought this exhibition to life.

I have always felt that beyond your shared interest in the natural world and the notion of ‘landscape’ in general, that there is a sense of almost ‘remembrance’ and a certain ‘longing to belong’ in your works. How does your attachment to particular geographies affect and influence the works you make?

Lien Botha: For me, the very nature of photography alludes to the memory keeper. And through that repository, one works with what engages your days and nights at a given moment in time; you toil in order to try and make sense of the past through the present.

Jaco van Schalkwyk: I would like to think that I am not attached to only one place in particular, but more broadly to the planet and therefore conservation in general. We live in a time where almost every corner of this world has been discovered and documented; sadly, our greed and hunger for power as humans has left many of these environments and animal species under serious threat or even on the verge of extinction. Like the curious artists of the past, I am also endeavouring to document nature, but perhaps for a different reason; ‘After Nature’ is almost a final recording or documentation of nature and life on this planet as we know it.

After Nature will be on display at the Barnard Gallery from 31 August to 10 October 2023.

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