REFRACTIONS is a series of works that developed from my first woven works, called SOIL ARMOUR. While the SOIL ARMOUR works are comprised of fragments of hemp and cotton canvas, painted in oil paint, this new series has the addition of photographs printed on archival paper.

The addition of photography and paper to my woven works adds a delicate layer that speaks to the role of technology in my creative process. My paintings are often inspired by photos I take of landscapes around me as I explore and research. Recently, I began using these photographs not only as reference material, but to engage more directly, and politely, with the landscape.

The title of this series of work, REFRACTIONS, refers to the way that waves (including light, sound, and water) bend and alter when moving from one medium into another. Light refracts differently when it moves through the lens of a camera, the moving waters of the ocean, or the leaves of a tree. The cutting up and weaving together of fabric and paper pieces obscure the original photograph, creating a diffused and pixelated effect.

Technology plays an interesting role in the predicted dire ecological futures that the earth faces. The dominant stances on modern technology seem to live in extremes. While some argue that technology will save us from ourselves, others prefer to see it completely abandoned and eradicated, longing for a simpler time before the Great Acceleration. I find myself interested in the more nuanced space that exists between these opposites. I do not hold idealistic hopes of complete restoration for our planet, nor am I resigned to our predicted doomed fate. Rather, I hold out for opportunities of partial healing, and am interested in the ways art can foster such discussions.

Central to such discussions is the need to reconsider how we engage with the landscapes around us. My approach to these explorations embodies the philosophy of Donna Haraway’s “polite curiosity”. The aim of this is to engage with our surroundings respectfully, by looking, seeing, sensing and listening with intent. In making these works, I engage with cycles of exploring, processing, and reflecting upon my own interactions with the landscapes around me.

REFRACTIONS is a series of works that developed from my first woven works, called SOIL ARMOUR. While the SOIL ARMOUR works are comprised of fragments of hemp and cotton canvas, painted in oil paint, this new series has the addition of photographs printed on archival paper.

The addition of photography and paper to my woven works adds a delicate layer that speaks to the role of technology in my creative process. My paintings are often inspired by photos I take of landscapes around me as I explore and research. Recently, I began using these photographs not only as reference material, but to engage more directly, and politely, with the landscape.

The title of this series of work, REFRACTIONS, refers to the way that waves (including light, sound, and water) bend and alter when moving from one medium into another. Light refracts differently when it moves through the lens of a camera, the moving waters of the ocean, or the leaves of a tree. The cutting up and weaving together of fabric and paper pieces obscure the original photograph, creating a diffused and pixelated effect.

Technology plays an interesting role in the predicted dire ecological futures that the earth faces. The dominant stances on modern technology seem to live in extremes. While some argue that technology will save us from ourselves, others prefer to see it completely abandoned and eradicated, longing for a simpler time before the Great Acceleration. I find myself interested in the more nuanced space that exists between these opposites. I do not hold idealistic hopes of complete restoration for our planet, nor am I resigned to our predicted doomed fate. Rather, I hold out for opportunities of partial healing, and am interested in the ways art can foster such discussions.

Central to such discussions is the need to reconsider how we engage with the landscapes around us. My approach to these explorations embodies the philosophy of Donna Haraway’s “polite curiosity”. The aim of this is to engage with our surroundings respectfully, by looking, seeing, sensing and listening with intent. In making these works, I engage with cycles of exploring, processing, and reflecting upon my own interactions with the landscapes around me.

The artworks’ composition depicted floating faces against flat coloured backgrounds, that sat centred in the drawings. I used hands as a form of symbolism and reference to sign language, with the intention to emphasise my desired message. Through the digitalisation and physical showcasing of DISPLACEMENT IN COMMUNITY: THE COLOUR SERIES, the artworks allowed for discourses on inclusivity, body positivity, and confidence related to Albinism. The depiction of differently skin-toned hands further allowed for conversation on notions of the skin. This was visibly evident in how my audience interacted with my representatives and I; through conversations carried out during gallery visits, media outlets, and technological advances, such as social media platforms.

As a result, being aware of these reactions, I wondered if I could push the conversation further. In the creation of A CRITICAL REVISIT: DISPLACEMENT IN COMMUNITY: THE COLOUR SERIES, I have created artworks that place the albinotic body in communal spaces – on the coach, at the dinner table and seated by the bedroom window. Am I further challenging the notions of inclusivity, humanism and layers of bodily politics? Yes indeed, I am. When I am reminded that persons with Albinism tend to be excluded from communal spaces because they are, we are, seen and perceived as less than human, I am reminded to make it my calling to challenge such notions attached to my body and those of my community members.

Black persons living with Albinism (PLWA) of all ages and gender are subjected to systemic violence and discrimination daily in South Africa. As a result, many live with the fear that they may be harmed, raped or abducted and killed for their body parts. In response, my artworks depict how more expansive representation of PLWA assists in creating greater awareness about Albinism. I challenge existing social prejudices and stigmatisation about PLWA through my art practice.

Reimagining Albus focuses on themes of the representation of the black (albinotic) body in South African art, aspects regarding human rights and such notions of identity as self-acceptance and self-othering, related to PLWA. In creating my artworks, I referred to printmaking techniques by South African printmaker Diane Victor. I adopted artistic tropes used by South African visual-activist Zanele Muholi such as the gaze and large sized artworks. I find both artists’ works powerful in expressing their unique messages about marginalised communities.

In so doing, I have created my body of artworks through the use of drypoint and drawing. I have chosen to use both mediums due to their unique, and therapeutical nature. I use research-based iconography and tropes that emit constructive messages, such as the use of bees, sunflowers, text and sage.

I have selected drawing as a secondary medium because it is a graphic medium, as a result this allows me as an artist to make graphic statements. My choice of large-scale portraits incorporates the use of the gaze which emphasises the unique message underscoring each portrait respectively. It is easier for viewers like myself with vision impairment to view each artwork with ease. By creating close-up imagery that emphasises the gaze, highlight notions of power, visibility and inclusion of PLWA as a way of drawing attention to their human rights.
The exhibition stimulates deeper awareness that can help address the lack of research, social justice, policies and practices relating to Albinism in South Africa. My work signals urgent challenges regarding the need for equality and inclusivity of PLWA in South Africa and Africa and the need to reimagine PLWA in the visual-cultural, and educational sectors. The exhibition is held at Constitutional Hill in Johannesburg, on the 29th of January to the 25th of February 2022.

I have chosen to use this venue as my text and body of artworks focuses on challenging negative narratives concerning Albinism and PLWA, I chose Constitution Hill for my exhibition space due to its profound history and connotations of South Africa’s struggle for democracy. Importantly, the Constitutional Court, centred at Constitution Hill,80 symbolises the home of human rights for all South Africans, including PLWA. Since my research questions challenge the discrimination and violation of the human rights of PLWA, through visual representation, I believe that selecting the Number Four prison as an exhibition venue has a meaningful symbolic value. The venue appropriately complements and reinforces my research claims.

Black persons living with Albinism (PLWA) of all ages and gender are subjected to systemic violence and discrimination daily in South Africa. As a result, many live with the fear that they may be harmed, raped or abducted and killed for their body parts. In response, my artworks depict how more expansive representation of PLWA assists in creating greater awareness about Albinism. I challenge existing social prejudices and stigmatisation about PLWA through my art practice.

Reimagining Albus focuses on themes of the representation of the black (albinotic) body in South African art, aspects regarding human rights and such notions of identity as self-acceptance and self-othering, related to PLWA. In creating my artworks, I referred to printmaking techniques by South African printmaker Diane Victor. I adopted artistic tropes used by South African visual-activist Zanele Muholi such as the gaze and large sized artworks. I find both artists’ works powerful in expressing their unique messages about marginalised communities.

In so doing, I have created my body of artworks through the use of drypoint and drawing. I have chosen to use both mediums due to their unique, and therapeutical nature. I use research-based iconography and tropes that emit constructive messages, such as the use of bees, sunflowers, text and sage.

I have selected drawing as a secondary medium because it is a graphic medium, as a result this allows me as an artist to make graphic statements. My choice of large-scale portraits incorporates the use of the gaze which emphasises the unique message underscoring each portrait respectively. It is easier for viewers like myself with vision impairment to view each artwork with ease. By creating close-up imagery that emphasises the gaze, highlight notions of power, visibility and inclusion of PLWA as a way of drawing attention to their human rights.
The exhibition stimulates deeper awareness that can help address the lack of research, social justice, policies and practices relating to Albinism in South Africa. My work signals urgent challenges regarding the need for equality and inclusivity of PLWA in South Africa and Africa and the need to reimagine PLWA in the visual-cultural, and educational sectors. The exhibition is held at Constitutional Hill in Johannesburg, on the 29th of January to the 25th of February 2022.

I have chosen to use this venue as my text and body of artworks focuses on challenging negative narratives concerning Albinism and PLWA, I chose Constitution Hill for my exhibition space due to its profound history and connotations of South Africa’s struggle for democracy. Importantly, the Constitutional Court, centred at Constitution Hill,80 symbolises the home of human rights for all South Africans, including PLWA. Since my research questions challenge the discrimination and violation of the human rights of PLWA, through visual representation, I believe that selecting the Number Four prison as an exhibition venue has a meaningful symbolic value. The venue appropriately complements and reinforces my research claims.

Black persons living with Albinism (PLWA) of all ages and gender are subjected to systemic violence and discrimination daily in South Africa. As a result, many live with the fear that they may be harmed, raped or abducted and killed for their body parts. In response, my artworks depict how more expansive representation of PLWA assists in creating greater awareness about Albinism. I challenge existing social prejudices and stigmatisation about PLWA through my art practice.

Reimagining Albus focuses on themes of the representation of the black (albinotic) body in South African art, aspects regarding human rights and such notions of identity as self-acceptance and self-othering, related to PLWA. In creating my artworks, I referred to printmaking techniques by South African printmaker Diane Victor. I adopted artistic tropes used by South African visual-activist Zanele Muholi such as the gaze and large sized artworks. I find both artists’ works powerful in expressing their unique messages about marginalised communities.

In so doing, I have created my body of artworks through the use of drypoint and drawing. I have chosen to use both mediums due to their unique, and therapeutical nature. I use research-based iconography and tropes that emit constructive messages, such as the use of bees, sunflowers, text and sage.

I have selected drawing as a secondary medium because it is a graphic medium, as a result this allows me as an artist to make graphic statements. My choice of large-scale portraits incorporates the use of the gaze which emphasises the unique message underscoring each portrait respectively. It is easier for viewers like myself with vision impairment to view each artwork with ease. By creating close-up imagery that emphasises the gaze, highlight notions of power, visibility and inclusion of PLWA as a way of drawing attention to their human rights.
The exhibition stimulates deeper awareness that can help address the lack of research, social justice, policies and practices relating to Albinism in South Africa. My work signals urgent challenges regarding the need for equality and inclusivity of PLWA in South Africa and Africa and the need to reimagine PLWA in the visual-cultural, and educational sectors. The exhibition is held at Constitutional Hill in Johannesburg, on the 29th of January to the 25th of February 2022.

I have chosen to use this venue as my text and body of artworks focuses on challenging negative narratives concerning Albinism and PLWA, I chose Constitution Hill for my exhibition space due to its profound history and connotations of South Africa’s struggle for democracy. Importantly, the Constitutional Court, centred at Constitution Hill,80 symbolises the home of human rights for all South Africans, including PLWA. Since my research questions challenge the discrimination and violation of the human rights of PLWA, through visual representation, I believe that selecting the Number Four prison as an exhibition venue has a meaningful symbolic value. The venue appropriately complements and reinforces my research claims.

Black persons living with Albinism (PLWA) of all ages and gender are subjected to systemic violence and discrimination daily in South Africa. As a result, many live with the fear that they may be harmed, raped or abducted and killed for their body parts. In response, my artworks depict how more expansive representation of PLWA assists in creating greater awareness about Albinism. I challenge existing social prejudices and stigmatisation about PLWA through my art practice.

Reimagining Albus focuses on themes of the representation of the black (albinotic) body in South African art, aspects regarding human rights and such notions of identity as self-acceptance and self-othering, related to PLWA. In creating my artworks, I referred to printmaking techniques by South African printmaker Diane Victor. I adopted artistic tropes used by South African visual-activist Zanele Muholi such as the gaze and large sized artworks. I find both artists’ works powerful in expressing their unique messages about marginalised communities.

In so doing, I have created my body of artworks through the use of drypoint and drawing. I have chosen to use both mediums due to their unique, and therapeutical nature. I use research-based iconography and tropes that emit constructive messages, such as the use of bees, sunflowers, text and sage.

I have selected drawing as a secondary medium because it is a graphic medium, as a result this allows me as an artist to make graphic statements. My choice of large-scale portraits incorporates the use of the gaze which emphasises the unique message underscoring each portrait respectively. It is easier for viewers like myself with vision impairment to view each artwork with ease. By creating close-up imagery that emphasises the gaze, highlight notions of power, visibility and inclusion of PLWA as a way of drawing attention to their human rights.
The exhibition stimulates deeper awareness that can help address the lack of research, social justice, policies and practices relating to Albinism in South Africa. My work signals urgent challenges regarding the need for equality and inclusivity of PLWA in South Africa and Africa and the need to reimagine PLWA in the visual-cultural, and educational sectors. The exhibition is held at Constitutional Hill in Johannesburg, on the 29th of January to the 25th of February 2022.

I have chosen to use this venue as my text and body of artworks focuses on challenging negative narratives concerning Albinism and PLWA, I chose Constitution Hill for my exhibition space due to its profound history and connotations of South Africa’s struggle for democracy. Importantly, the Constitutional Court, centred at Constitution Hill,80 symbolises the home of human rights for all South Africans, including PLWA. Since my research questions challenge the discrimination and violation of the human rights of PLWA, through visual representation, I believe that selecting the Number Four prison as an exhibition venue has a meaningful symbolic value. The venue appropriately complements and reinforces my research claims.

Black persons living with Albinism (PLWA) of all ages and gender are subjected to systemic violence and discrimination daily in South Africa. As a result, many live with the fear that they may be harmed, raped or abducted and killed for their body parts. In response, my artworks depict how more expansive representation of PLWA assists in creating greater awareness about Albinism. I challenge existing social prejudices and stigmatisation about PLWA through my art practice.

Reimagining Albus focuses on themes of the representation of the black (albinotic) body in South African art, aspects regarding human rights and such notions of identity as self-acceptance and self-othering, related to PLWA. In creating my artworks, I referred to printmaking techniques by South African printmaker Diane Victor. I adopted artistic tropes used by South African visual-activist Zanele Muholi such as the gaze and large sized artworks. I find both artists’ works powerful in expressing their unique messages about marginalised communities.

In so doing, I have created my body of artworks through the use of drypoint and drawing. I have chosen to use both mediums due to their unique, and therapeutical nature. I use research-based iconography and tropes that emit constructive messages, such as the use of bees, sunflowers, text and sage.

I have selected drawing as a secondary medium because it is a graphic medium, as a result this allows me as an artist to make graphic statements. My choice of large-scale portraits incorporates the use of the gaze which emphasises the unique message underscoring each portrait respectively. It is easier for viewers like myself with vision impairment to view each artwork with ease. By creating close-up imagery that emphasises the gaze, highlight notions of power, visibility and inclusion of PLWA as a way of drawing attention to their human rights.
The exhibition stimulates deeper awareness that can help address the lack of research, social justice, policies and practices relating to Albinism in South Africa. My work signals urgent challenges regarding the need for equality and inclusivity of PLWA in South Africa and Africa and the need to reimagine PLWA in the visual-cultural, and educational sectors. The exhibition is held at Constitutional Hill in Johannesburg, on the 29th of January to the 25th of February 2022.

I have chosen to use this venue as my text and body of artworks focuses on challenging negative narratives concerning Albinism and PLWA, I chose Constitution Hill for my exhibition space due to its profound history and connotations of South Africa’s struggle for democracy. Importantly, the Constitutional Court, centred at Constitution Hill,80 symbolises the home of human rights for all South Africans, including PLWA. Since my research questions challenge the discrimination and violation of the human rights of PLWA, through visual representation, I believe that selecting the Number Four prison as an exhibition venue has a meaningful symbolic value. The venue appropriately complements and reinforces my research claims.

Black persons living with Albinism (PLWA) of all ages and gender are subjected to systemic violence and discrimination daily in South Africa. As a result, many live with the fear that they may be harmed, raped or abducted and killed for their body parts. In response, my artworks depict how more expansive representation of PLWA assists in creating greater awareness about Albinism. I challenge existing social prejudices and stigmatisation about PLWA through my art practice.

Reimagining Albus focuses on themes of the representation of the black (albinotic) body in South African art, aspects regarding human rights and such notions of identity as self-acceptance and self-othering, related to PLWA. In creating my artworks, I referred to printmaking techniques by South African printmaker Diane Victor. I adopted artistic tropes used by South African visual-activist Zanele Muholi such as the gaze and large sized artworks. I find both artists’ works powerful in expressing their unique messages about marginalised communities.

In so doing, I have created my body of artworks through the use of drypoint and drawing. I have chosen to use both mediums due to their unique, and therapeutical nature. I use research-based iconography and tropes that emit constructive messages, such as the use of bees, sunflowers, text and sage.

I have selected drawing as a secondary medium because it is a graphic medium, as a result this allows me as an artist to make graphic statements. My choice of large-scale portraits incorporates the use of the gaze which emphasises the unique message underscoring each portrait respectively. It is easier for viewers like myself with vision impairment to view each artwork with ease. By creating close-up imagery that emphasises the gaze, highlight notions of power, visibility and inclusion of PLWA as a way of drawing attention to their human rights.
The exhibition stimulates deeper awareness that can help address the lack of research, social justice, policies and practices relating to Albinism in South Africa. My work signals urgent challenges regarding the need for equality and inclusivity of PLWA in South Africa and Africa and the need to reimagine PLWA in the visual-cultural, and educational sectors. The exhibition is held at Constitutional Hill in Johannesburg, on the 29th of January to the 25th of February 2022.

I have chosen to use this venue as my text and body of artworks focuses on challenging negative narratives concerning Albinism and PLWA, I chose Constitution Hill for my exhibition space due to its profound history and connotations of South Africa’s struggle for democracy. Importantly, the Constitutional Court, centred at Constitution Hill,80 symbolises the home of human rights for all South Africans, including PLWA. Since my research questions challenge the discrimination and violation of the human rights of PLWA, through visual representation, I believe that selecting the Number Four prison as an exhibition venue has a meaningful symbolic value. The venue appropriately complements and reinforces my research claims.

Black persons living with Albinism (PLWA) of all ages and gender are subjected to systemic violence and discrimination daily in South Africa. As a result, many live with the fear that they may be harmed, raped or abducted and killed for their body parts. In response, my artworks depict how more expansive representation of PLWA assists in creating greater awareness about Albinism. I challenge existing social prejudices and stigmatisation about PLWA through my art practice.

Reimagining Albus focuses on themes of the representation of the black (albinotic) body in South African art, aspects regarding human rights and such notions of identity as self-acceptance and self-othering, related to PLWA. In creating my artworks, I referred to printmaking techniques by South African printmaker Diane Victor. I adopted artistic tropes used by South African visual-activist Zanele Muholi such as the gaze and large sized artworks. I find both artists’ works powerful in expressing their unique messages about marginalised communities.

In so doing, I have created my body of artworks through the use of drypoint and drawing. I have chosen to use both mediums due to their unique, and therapeutical nature. I use research-based iconography and tropes that emit constructive messages, such as the use of bees, sunflowers, text and sage.

I have selected drawing as a secondary medium because it is a graphic medium, as a result this allows me as an artist to make graphic statements. My choice of large-scale portraits incorporates the use of the gaze which emphasises the unique message underscoring each portrait respectively. It is easier for viewers like myself with vision impairment to view each artwork with ease. By creating close-up imagery that emphasises the gaze, highlight notions of power, visibility and inclusion of PLWA as a way of drawing attention to their human rights.
The exhibition stimulates deeper awareness that can help address the lack of research, social justice, policies and practices relating to Albinism in South Africa. My work signals urgent challenges regarding the need for equality and inclusivity of PLWA in South Africa and Africa and the need to reimagine PLWA in the visual-cultural, and educational sectors. The exhibition is held at Constitutional Hill in Johannesburg, on the 29th of January to the 25th of February 2022.

I have chosen to use this venue as my text and body of artworks focuses on challenging negative narratives concerning Albinism and PLWA, I chose Constitution Hill for my exhibition space due to its profound history and connotations of South Africa’s struggle for democracy. Importantly, the Constitutional Court, centred at Constitution Hill,80 symbolises the home of human rights for all South Africans, including PLWA. Since my research questions challenge the discrimination and violation of the human rights of PLWA, through visual representation, I believe that selecting the Number Four prison as an exhibition venue has a meaningful symbolic value. The venue appropriately complements and reinforces my research claims

Over the past two years, especially during our early introduction to the pandemic, there was a great sense of fear, vulnerability and powerlessness. Many of us tried to make sense of the devastation, it’s one thing knowing about death, it’s another thing being constantly reminded of it on a daily basis.
With this ongoing series, I explore my feelings and psyche about existence and mortality. It explores the boundaries and concept of vulnerability and how we interpret everything that now happens in our lives.

“Paths Linked to Community represents cables used in construction to hoist things into place. I used this sculpture to link my Engineering background, my masculine aspect, to Art, my feminine aspect. This highlights the importance of embracing both aspects of oneself and finding the balance. Each strand in the cable represents each individual’s strength within a community, illustrating how a community can be stronger when they work together. All this while each person still embraces their own unique identity. The spaces in between the strands, represent the unseen world and all the protection and guidance that comes from there. However, it also represents how our paths cross and how interacting with others helps us, as individuals and communities, along our journeys to evolve.” – Natalie de Morney

“Paths Linked to Community represents cables used in construction to hoist things into place. I used this sculpture to link my Engineering background, my masculine aspect, to Art, my feminine aspect. This highlights the importance of embracing both aspects of oneself and finding the balance. Each strand in the cable represents each individual’s strength within a community, illustrating how a community can be stronger when they work together. All this while each person still embraces their own unique identity. The spaces in between the strands, represent the unseen world and all the protection and guidance that comes from there. However, it also represents how our paths cross and how interacting with others helps us, as individuals and communities, along our journeys to evolve.” – Natalie de Morney

The Baviaanskloof holds a special place in my heart, stemming from the landscape of my childhood memories. It's a region characterised by its unique charm, where the houses I encountered were crafted using traditional methods, featuring clay walls and roofs fashioned from reeds. The distinctiveness and rawness of these structures deeply influence the essence of the dome-like sculptures within my artwork.
The convex-like appearance of the forms can also be seen as a dome or a dwelling form of the self, housing emotions and experiences from both the past and present. My sculptures are intricately cut, pierced, or demarcated, to create passages between the physical and the spiritual realm, to encourage viewers to explore the boundaries of identity and the profound silence they encompass.
The sculptural forms are meticulously crafted primarily using clay as the main sculpting material. Employing the hand-building technique enables precise manipulation of the clay, shaping it into distinct forms and facilitating surface embellishment.
To accentuate emotions of containment, weightiness, a sense of morbidity, and mixed feelings, the sculptures' bodies are deliberately adorned with layers of copper oxide and manganese dioxide. These surface treatments serve to deepen the emotional resonance, fostering an evocative narrative within the artwork.

The Baviaanskloof holds a special place in my heart, stemming from the landscape of my childhood memories. It's a region characterised by its unique charm, where the houses I encountered were crafted using traditional methods, featuring clay walls and roofs fashioned from reeds. The distinctiveness and rawness of these structures deeply influence the essence of the dome-like sculptures within my artwork.
The convex-like appearance of the forms can also be seen as a dome or a dwelling form of the self, housing emotions and experiences from both the past and present. My sculptures are intricately cut, pierced, or demarcated, to create passages between the physical and the spiritual realm, to encourage viewers to explore the boundaries of identity and the profound silence they encompass.
The sculptural forms are meticulously crafted primarily using clay as the main sculpting material. Employing the hand-building technique enables precise manipulation of the clay, shaping it into distinct forms and facilitating surface embellishment.
To accentuate emotions of containment, weightiness, a sense of morbidity, and mixed feelings, the sculptures' bodies are deliberately adorned with layers of copper oxide and manganese dioxide. These surface treatments serve to deepen the emotional resonance, fostering an evocative narrative within the artwork.

As a Coloured, in the collective memory of my story, I always felt like an invisible individual trapped between Black and White classifications. Therein lies an untold story of being somewhere between and not represented, creating the feeling of ‘not-belonging’. Through constructing narratives of lived experience, hybrid communities can challenge dominant stereotypes and subvert discourses of otherness and difference.

My work focuses on presenting ceramic sculptures depicting the fluid shift of borders. I use borders as a metaphor for the way that our identity transforms as we experience various spaces. My ceramic sculptural forms are often cut, pierced, or demarcated showing the divisions in cultural differences. The divisions emphasise how the parameters of identity are often blurred and how an object’s placement in space can reference things other than itself, acting as a memory trigger.

The works also explore the element of form, space and time, presenting the viewer with a shifting perspective on materiality. My intuitive response to clay enlists the rich and multileveled reference that ceramics has as a medium, evoking the permanence and impermanence associated with time.

The Unfurling is an ongoing body of work, born from the pandemic's impact – it is an immersive exploration that delves into the depths of my personal struggles, both mental and emotional, while embracing the enduring effects of trauma, and their profound impact on memory and psychosis. This body of work represents an intricate unraveling, a meticulous dissection, and a profound assimilation of childhood memories, whose imprint upon our behavior as adults can range from subtle nuances to profound transformations.
Serving as a testament to the human psyche itself, this collection aims to document its intricate complexities, while critically examining my own perceptions of the world. As time weaves its intricate tapestry, memories begin to blur, the fine details dissipating, but the essence of the broad strokes and, most significantly, the intense emotions felt at their inception persist. Infused with deliberate graininess, my images undergo a transformative shift in texture, assuming a timeless quality akin to evanescent snapshots of dreams or fragments of distant memories and vivid imaginations.

When we are younger, death is not something that we have a full concept of. There is a sweet naivety to that idea.
Over the past two years, especially during our early introduction to the pandemic, there was a great sense of fear, vulnerability and powerlessness. Many of us tried to make sense of the devastation, it’s one thing knowing about death, it’s another thing being constantly reminded of it on a daily basis.
With this ongoing series, I explore my feelings and psyche about existence and mortality. It explores the boundaries and concept of vulnerability and how we interpret everything that now happens in our lives.

Hazel’s work focuses on the portrayal of one's body, identity, and the abstract representation of nature. Her work is characterised by the use of long shutter speed and double-exposure, using blur to create a sense of movement and transition. These photographs embody a temporal wane of fleeting experiences, memory, growth, and decay and begins to mimic the shape-shifting apparitions of recollection and reminiscence of transition.

Hazel’s work focuses on the portrayal of one's body, identity, and the abstract representation of nature. Her work is characterised by the use of long shutter speed and double-exposure, using blur to create a sense of movement and transition. These photographs embody a temporal wane of fleeting experiences, memory, growth, and decay and begins to mimic the shape-shifting apparitions of recollection and reminiscence of transition.

Hazel’s work focuses on the portrayal of one's body, identity, and the abstract representation of nature. Her work is characterised by the use of long shutter speed and double-exposure, using blur to create a sense of movement and transition. These photographs embody a temporal wane of fleeting experiences, memory, growth, and decay and begins to mimic the shape-shifting apparitions of recollection and reminiscence of transition.

Hazel’s work focuses on the portrayal of one's body, identity, and the abstract representation of nature. Her work is characterised by the use of long shutter speed and double-exposure, using blur to create a sense of movement and transition. These photographs embody a temporal wane of fleeting experiences, memory, growth, and decay and begins to mimic the shape-shifting apparitions of recollection and reminiscence of transition.