Reflections Mild steel Every morning we look in the mirror and only occasionally do we reflect on goals accomplished or goals missed; things thought important have become insignificant; truly important things in life neglected have left us poorer; should we rekindle old dreams, try to escape from our cage and refurbish our lives?

Sagte staal Elke oggend kyk ons in die spieël en slegs af en toe dink ons na oor die doelwitte wat ons bereik het of kanse wat verspeelis; dinge wat eens belangrik was het onbenullig geword; werklike belangrike dinge in die lewe wat verwaarloos is het ons arm gelaat; moet ons ou drome weer aanvuur, probeer ontsnap uit ons kou en ons lewens opknap?

Intsimbi exutyiweyo Nangona sizijonga qho kusasa esipilini, asifane siqwalasele apho sisuka khona ngokufikelela kwiziphumo sezinto esifuna ukuzenza okanye izinto esingafikelelanga kuzo; izinto esasicinga ukuba zibalulekile zisuke azabaluleka; izinto ezibaluleke kakhulu ebomini nezithe azakhathalelwa zisenze sangamahlwempu; ingaba kufuneka sivuselele amaphupha amadala, sizame ukubaleka imbophelelo siphinde sivuselele ubomi bethu?

Raindrops Serpentine The artistic representation of raindrops in popular culture is that of a teardrop. Rain and water is vital for all life on earth. Access to safe drinking water has improved over the last decades in almost every part of the world, but approximately one billion people still lack access to safe water.

Reëndruppels Serpentynsteen Die kunsvoorstelling van reëndruppels in algemene kultuur is dié van ‘n traandruppel. Reën en water is lewensnoodsaaklik vir alle lewe op aarde. Toegang tot veilige drinkwater het oor die laaste dekades in meeste dele van die wêreld toegeneem, maar ongeveer een biljoen mense het steeds nie veilige drinkwater nie.

Amathontsi emvula Serpentine(ukujijwa) Into eboniswa ngala mathontsi emvula edumileyo lithontsi leenyembezi. Imvula namanzi abalulekile kubomi bonke mhlabeni. Kuye kwaphuculwa iindlela zokufumana amanzi okusela acocekileyo nakhuselekileyo, kwiminyaka emininzi edlulileyo kwigumbi ngalinye lomhlaba, kodwa ke mayela nebhiliyoni yabantu ayikabi nawo amanzi acocekileyo nakhuseleyo.

P.I.S. = place, identity, space Black concrete and rubber The artist reflects on public and private spaces. What is private here becomes a public artwork. What is secluded, concealed and usually divided into separate genders now becomes an object of reflection requiring new ways of seeing.

Swart beton en rubber Die kunstenaar dink oor en kyk weer na openbare en private ruimtes. Wat privaat is word hier ‘n openbare kunswerk. Wat afgesonder, versteek en gewoonlik in aparte geslagte verdeel is, word nou ‘n voorwerp van nadenke wat vra vir nuwe maniere van kyk.

Ikonkrithi emnyama nerabha Umzobi uqwalasela iindawo eziphangaleleyo nezabucala. Loo nto iyeyabucala apha iba ngumsebenzi wezandla osasazwayo. Loo nto ibiyelweyo, ivaliweyo kwaye yahlulwe ngokwezini ezahlukeneyo ize ibe yinto esiziqwalasela ukuze kufunyanwe indlela yokubona izinto ezintsha.

Reflect on the Goat Woman. Steel, wire, papier mâché, mosaics. The artist’s themes are often associated with cultural practices such as ceremonies that mark the rites of passage. References include the slaughtering of a goat. We see a hybrid form – the head of a goat (it has a positive meaning) and the breasts of a young girl - signifying the rites of a girl being initiated as a woman.

Dink oor die Bokvrou. Staal, draad, papier mâché, mosaïekteëls. Die kunstenaar se temas hou dikwels verband met kulturele gebruike soos die plegtighede wat deurgangsrites kenmerk. Daar word bv. verwys na die slag van ‘n bok. Ons sien ‘n kruising – die kop van ‘n bok (dit het ‘n positiewe betekenis) en die borste van ‘n jong meisie – dit dui op die inisiasie van meisie na ‘n vrou.

Qwalasela Umfazi Bhokwe. Intsimbi, ucingo, umphezulu womfanekiso (papier mâché), imozeyikhi Izihloko zomzobi zisoloko zisayanyaniswa nemiba yenkcubeko efana nemicimbi ethile ebonisa ukudlula kwelinye inqanaba lobomi ungene kwesinye. Izakathisi ziquka ukuxhelwa kwebhokhwe. Sibona umxube –intloko yebhokhwe (inentsingiselo entle) amabele entombazana – aluphawu lokudlula kwinqanaba lobuntombi ukuya kwelobufazi.

Enough Rope Wood, metal, found objects The artist reflects on how we have an innate propensity to gather around us much more than we need. We end up feeding on it in an effort to stay civilized. It is materialism, politics, economics and bureaucracies that have brought us to our current difficulties.

Genoeg Tou Hout, metaal, gevonde voorwerpe. Die kunstenaar dink na oor hoe ons ‘n ingebore neiging het om veel meer as wat ons nodig het rondom ons te vergaar. Uiteindelik teer ons daarop in ‘n poging om beskaafd te bly. Dit is materialisme, politiek, ekonomie en burokrasie wat ons met ons huidige probleme opgesaal het.

Intambo Eyaneleyo. Ikhuni, intsimbi, izinto ezifunyenweyo. Umzombi uqwalasela injongo engaphakathi esenza siqokelele izinto ezisingqongileyo ngaphezu kokuba sizifuna. Siphela sizipobhelela kwezi zinto ngenzame zokuhlala siphucukile ngenxa yokuthanda izinto eziphathekayo, ezopolitiko, ezoqoqosho kunye nolawulo olunempophelelo olusifake kwezi ngxaki sijongene nazo.

Cookie Trap Concrete, chain The artist reflects on divergent meanings. He starts with the small code (cookie) which is written into computer software to “reflect” your personal preferences and usage. The sculpture consists of a tongue in cheek combination of well-known divergent objects: a fortune cookie as a symbol of fun and promising better things; the data “cookie” supposedly making the digital experience more personal; and an unexpected animal trap symbolising cruelty and threat.

Beton, ketting Die kunstenaar dink na oor uiteenlopende betekenisse. Hy begin by die klein kode (cookie) wat in ‘n rekenaar is om jou persoonlike voorkeure en gebruike te reflekteer. Die beeldhouwerk bestaan uit ‘n spottenderwyse kombinasie van bekende uiteenlopende voorwerpe: ‘n gelukskoekie as ‘n simbool van pret en beloftes van beter dinge, die data “cookie” wat kwansuis die elektroniese ervaring meer persoonlik maak en dan ’n onverwagse slagyster wat wreedheid en bedreiging simboliseer.

Umgibe weCookie Ikonkrithi, itsheyina Umzobi uqwalasela iintsingiselo ezahlukeneyo. Uqala ngekhowudi yekuki encinci (cookie) ebekwa kwikhompyutha “ukuqwalasela” indlela okhetha ukwenza izinto ngayo nendlela ezisetyenziswa ngayo. Umfanekiso lo ubonisa izinto ezingeyonyani ncam nendibanisela yeyantlukwano yezinto: Ikuki(icookie) yethamsanqa luphawu lolonwabo noluthembisa izinto ezingcono, ikuki(icookie) yengxelo kufanele yenze ukusebenzisa ikhompyutha kulungele umntu sikwazi siwubone umgibe wesilwanyana esingalindelwanga esiluphawu lwenkohlakalo nesigqogriso.

Bullet proof Glass, rubber, steel The protective windows salvaged from riot vehicles reflect the violent past we share. The glass panes suggest visual media. The artist wants to elicit a moment of thought from passers-by. The bullet proof windows should serve as a reminder of the challenge we face to build a collective future.

Koëlvas Glas, rubber, staal Die beskermende glasvensters wat van oproervoertuie herwin is, weerspieël die gewelddadige verlede wat ons deel. Die koëlvaste glaspanele suggereer visuele media. Die kunstenaar wil ‘n oomblik van nadenke by verbygangers ontlok. Die vensters moet ons herinner aan die uitdaging waarvoor ons staan om ‘n gesamentlike toekoms te bou.

Ukunqanda ukuphumela kwembumbulu Igilasi, irabha, intsimbi Iifestile ezikhuselayo ezihluthwa emapoliseni akhutshelwa uqhankqalazo abonisa imvelaphi nembali efanayo. Iigilasi zefestile zibonisa abathatha iindaba ngokufota. Umzobi ufuna ukuba wonke ubani odlula ngendlela athathe umzuzu acinge ngalo mfanekiso. Iifestile zokunqanda ukuphumela kwembubulu kumele zisebenze njengesikhumbuzo semicelimngeni esidibana nayo ukwakha ikamva sibambene.

Vessel Stainless steel In her work the artist tries to convey natural forms and evoke memories and emotions – emotions of tranquillity and security. She wishes to link viewers reflected in the vessel with their sacred inner spaces and with the earth. Vessel = any craft designed for transportation on water, a container of liquid or a person (as container of qualities or feelings).

Kom Vlekvrye staal Die kunstenaar probeer natuurlike vorms in haar werk oordra en herinneringe en emosies oproep – emosies van kalmte en geborgenheid. Sy wil kykers wat weerspieël word in die kom in aanraking bring met hulle onskendbare innerlike en met die aarde.

Isithuthi sasemanzini Stainless steel (intsimbi emenyezelayo) Kulo msebenzi walomzobi, umzobi uzama ukuveza iintlobo zemo yendalo azame nokuvuselela iinkumbulo – imvakalelo yenzolo nokuziva ukhuselekile. Unqwenela ukunxibelelanisa ababukeli kwisithuthi sasemanzini, ingaphakathi labo kunye nomhlaba. Isithuthi sasemanzini = nawuphi na umzobo ozotyelwe ukuhamba emanzini/ukuthutha abantu/izinto emanzini, isikhongozeli solwelo okanye umntu (njengesikhongozeli sezinto ezisemgangathweni okanye imvakalelo).

Conglomerate Steel, concrete, cement, mirrors, found objects The artist’s work deals with the concept of archaeology and the footprint of life on earth. The core tower reveals the documentation of time. Memories and past events are visible in the layers of extracted geological core. The reflections of us and our environment are evidence of our existence.

Konglomeraat Staal, beton, sement, spieëls, gevonde voorwerpe Die kunstenaar se werk is gemoeid met die beginsel van argeologie en die voetspoor van lewe op aarde. Die boorkern toring onthul die dokumentasie van tyd. Herinneringe en vergange gebeure is sigbaar in die lae van die ontginde geologiese kern. Die weerkaatsings van ons en ons omgewing is bewys van ons bestaan.

Conglomerate Intsimbi, ikonkrithi, isamente, izipili, izinto ezifunyenweyo Umsebenzi womzobi ujongana nengqiqo ngembali yemvelaphi kunye nemizila yobomi emhlabeni. Inkcochoyi ephezulu ibonisa amaxesha ngokwenzeka kwezehlo. Iinkumbulo nemicimbi yezehlo ezadlulayo ziboniswa ngokucacileyo ngamanqanaba obume bomhlaba. Ukuziqwalasela nokuqwalasela okusingqongileyo bubungqina bobukho bethu.

New Now Earth, white cement The artist is concerned with environmental relationships and process media. Here he reflects on his family’s origins and their connection with land by using soil gathered from landscapes of personal significance. The white washing of the sculptures symbolically conceals these pasts and, while also referencing Stellenbosch's architectural environment, shows up the contemporary tendency to obfuscate memory.

Nuut Nou Grond, wit sement Die kunstenaar is gemoeid met ons verhoudings met die omgewing en prosesmedia. Hier dink hy na oor sy familie se oorpronge en hulle verbintenis met die land – hy gebruik grond wat bymekaar gemaak is by omgewings wat vir hom ‘n persoonlike betekenis het. Die witgekalkte beeldhouwerke is ‘n simboliese bedekking van hierdie verlede. Dit verwys ook na Stellenbosch se argitektoniese omgewing en dui op die hedendaagse neiging om geskiedenis te verdoesel.

Entsha Ngoku Umhlaba, isamente emhlophe Umzobi unoxanduva lokubonisa ubudlelwane obuphakathi kwezinto ezisingqongileyo neendlela zokusebenza. Apha uqwalasela umnombo wefemeli yakhe nendlela abanxulumana ngayo nomhlaba kusetyenziswa umhlaba odityaniswe kwindawo ezahlukeneyo zokubaluleka komntu ngamnye. Ukwenziwa mhlophe (ukukalika) kwemifanekiso exonxiweyo luphawu olubonisa ukugquma izinto ezenzeka kudala, ngaxeshanye, zibonise indlela ezizotywe ngayo izakhiwo zaStellenbosch, nto leyo ebonisa injongo yokubhidisa inkumbulo.

Pondering Possession of the Holy House Rusted and waxed steel The artist reflects on a delightful essay telling the story of the discovery of a site and the mythologizing of the House of Annunciation by the Empress Helena in 328AD. The Holy House is a prayer that dissolves and must be made again and again. Read the essay The Secret Lives of Buildings in the chapter The Wondrous Flitting of the Holy House in Edward Hollis’ book The Santa Casa of Loreto.

Pondering Possession of the Holy House Geroesde en wasbedekte staal Die kunstenaar dink na oor ‘n genotvolle essay wat die storie vertel van die ontdekking van ‘n terrein en die mitologisering van die plek van die Maria-Boodskap deur die vorstin Helena in 328nC. Die “Holy House” verwys na ‘n gebed wat wegsmelt en oor en oor gebid moet word.

Ukucinga banzi ngokuqulethwe Yindlu Engcwele Intsimbi erusileyo nemenyezelayo Umzobi uqwalasela isicatshulwa esibhalwe kamnandi ebalisa ibali lokufumanisa le ndawo ngokuyifanisa neNdlu Yokwenza Izibhengezo kaKumkanikazi Helena ngo328AD. Indlu Engcwele yindawo yomthandazo ophelayo uphinde uqale kwakhona (oqhubekayo). Funda isicatshulwa Ubomi Obuyimfihlelo Yezakhiwo (The Bohe Secret Lives of Buildings) umhlathi othi Ukukhazimla Okumangalisayo Kwezakhiwo Ezingcwele(The Wondrous Flitting of the Holy House) kwincwadi kaEdward Hollis ethi, uSanta Casa waseLoreto (Santa Casa of Loreto).

Landscape of Lines Aluminium, epoxy, map The sky is reflected in the top beam and close-up the attention is drawn by the map. The site is the old historical Lutheran Church. But then time transforms the minimalist sculpture and at a certain time of day the installation casts a shadow in the shape of a cross on the church.

Landskap van Lyne Aluminium, epoksie, landkaart Die lug word weerkaats in die boonste balk en van naby word die aandag getrek deur die landkaart. Die terrein is die ou historiese Lutherse Kerk. Maar dan verander tyd die minimalistiese beeldhouwerk en op ‘n sekere tyd van die dag werp die installasie ‘n skaduwee in die vorm van ‘n kruis op die kerk.

(Indawo Yemigca) Umahluko omnye i-Aluminiyam, imbonakalo yepeyinti, uimephu Isibhakabhaka sibonakala kumtha wokukhanya ophezulu ize phezulu Kanye umtsalane uboniswe ngemephu. Le ndawo sisiza seCawe endala yaseLuthera. Kodwa ke kuba ixesha liguqu-guqula imbonakalo yomfanekiso oxonxiweyo, ngexesha elithile emini indawo emiselwe kuyo idala ithunzi elimile okomnqalezo phezu kwecawa.

Bronze disks A number of bronze disks are scattered around town and many passers-by may not notice them. However, the artworks were conceived to come to life when interacting with the public. When reflecting the faces and limbs of viewers the polished discs activate space and spark unconventional ways of appreciation.

‘n Aantal brons skyfvorms is versprei deur die dorp en baie verbygangers sal dit dalk nie raaksien nie. Die kunswerke is egter geskep om lewendig te word wanneer hulle reaksie van die publiek kry. Wanneer dit die gesigte en ledemate van kykers weerspieël, aktiveer die gepoleerde oppervlaktes die ruimte en veroorsaak onkonvensionele wyses van waardering.

Idiski zesinyithi Inani leediski zesinyithi zisasazwe idolophu yonke ukuze zibonwe ngabahamba ngendlela. Nangona kunjalo, umsebenzi wezandla, kwasekuqaleni, wenzelwa ukuba ube nobomi xa abantu bethetha ngawo. Xa kuqwalaselwa ubuso, iingalo nemilenze yabantu ababukeleyo iidiski ezipolishiweyo zenza abantu bawuncome ngendlela ezahlukeneyo umfanekiso. Nto leyo ethandwayo ngumzobi.

Seismograph Aluminium The artist has always been fascinated with movement and the notion that a small ripple resonates, accumulates and can transform into something else –such as described in the butterfly effect (chaos theory). The idea of this work began with reflecting on the earth’s movements and specifically the earthquake in Japan. Digital data recordings or charts of the seismographic readings, sound waves, wave currents, etc. are often starting points for her work.

Seismograaf Die kunstenaar was nog altyd geboei deur beweging en die idee dat ‘n klein rimpeling kan weergalm, ophoop en in iets anders kan verander – soos die vlinder-effek. Die idee van hierdie werk het begin met nadenke oor die aarde se bewegings en in besonder die aardbewing in Japan. Digitale datalesings of kaarte van die seismografiese lesings, klankgolwe, golfstrome, ens. is dikwels die beginpunt vir haar werk.

Seismograph –isixhobo sokumetesha ungcangcazelo/unyikimo lomhlaba iAlumiyam Umzobi usoloko etsalwa yintshukumo nefuthe eliboniswa yindulana nje edala ingxolo yamaza, enokuthi ijike ibe yenye into –njengengcaciso eyenziwe ngenxa yefuthe lebhabhathane (chaos theory). Injongo yalo msebenzi yaqala ngokucinga banzi ngokushukuma komhlaba ingakumbi iintshukumo zenyikima eJapani. Ushicilelo lweenkukacha okanye iitshati zeziphumo zokufundwa kwesesimograf (zesixhobo zsokumetesha ungcangcazelo/unyikimo lomhlaba), izandi zamaza, isantya sokuhamba kwamaza, njlnjl. Zindawo oqala kuzo umsebenzi wakhe.

Head: reflecting Bronze The artist’s sculptures often depict universal messages concerned with man as outsider or oppressor. What do we see when we look in the mirror/water? The big, stolid, featureless heads may also suggest man experiencing difficulty in communicating.

Kop: dink weer Brons Die kunstenaar se beelde is dikwels gemoeid met die mens as buitestaander of oorheerser. Wat sien ons wanneer ons in die spieël/water kyk? Die groot, bot, koppe sonder gelaatstrekke kan ook dui op die mens se onvermoë om te kommunikeer.

Iintloko: imbonakalo Isinyithi Umfanekiso oxonxiweyo womzobi udla ngokubonisa umyalezo wehlabathi obonisa umntu engaphandle okanye umcinezeli. Sibona ntoni xa sijonge emanzini/esipilini? Iintloko ezinkulu, eziqinileyo, ezingacaci kakuhle ezisekubonisa umntu onengxaki yonxibelelwano.

Echo of Derogation Resin with marble dust The artist describes it as two identical images of the same, introspection – ego and alter ego – joined at the temples. It is reminiscent of the myth of Narcissus and Echo. One is aware of undercurrents of unrequited love, self-love and the faceted nature of a personality.

Neerhalende Weerklank Hars met marmerpoeier Die kunstenaar beskryf dit as twee identiese selwe, ingekeer op mekaar – ego en alter-ego – saamgesmelt teen die slape. Dit herinner aan die mite van Narcissus en Eggo. ‘n Mens is bewus van onderstrominge van onbeantwoorde liefde, selfliefde, die gefasetteerde aard van ‘n persoonlikheid. Die kunstenaar haal Ingrid Jonker aan: “..Eggo is geen antwoord, antwoord hy alom / ‘n spieël het gebreek tussen my en hom..”

Isandi esiphindaphinda ukujongelwa phantsi Intlaka nothuli lwelitye lemabhile Umzobi uyicacisa ngokwemifanekiso emibini efana twatse, ukuzigocagoca – ukuzidla nokutshintsha indlela yokuzidla – ihlanganiswe ezintlafunweni. Ibaluleke okwentsomi kaNarcissus noEcho. Omnye unolwazi lothando olurhubuzayo, oluhambela phantsi nolungaqondwayo, ukuzithanda nokuzixabisa kunye neendidi ezahlukeneyo ezibonisa ubunjani bomntu.

Richmond Bronze, mirror This is a bust of a proud Xhosa man named Richmond, who has made a new life for himself and his family in Stellenbosch. In a town where the white and coloured communities have so much history and a sense of place, this sculpture reflects the dignified face of someone who feels he is on the outside looking in; waiting to feel truly at home.

Richmond Brons, spiel Hierdie is ‘n borsbeeld van ‘n trotse Xhosa-man, Richmond. Oorspronklik van die Oos-Kaap, het hy en sy gesin hulle in Stellenbosch gevestig om ‘n nuwe lewe te begin. In ‘n dorp waar die wit- en bruinmense ‘n geskiedenis het en bewus is van hulle plek, weerspieël hierdie beeld die waardige gesig van iemand wat hom ‘n buitestaander voel en wag om werklik tuis te kan voel.

Richmond Intlaka, isipili Lo ngumfanekiso obonisa intloko,ubuso namagxa wendoda yoMxhosa ezithanda kakhulu enguRichmond. Imvelaphi yakhe iseMpuma Koloni kwaye uzakhele ubomi obutsha eStellenbosch, uhlala nosapho lwakhe. Lo mfanekiso ubonisa ubuso bomntu onesidima nodilisekileyo eme ngaphandle kwedolophu, nangona ejonge ngaphakathi kwidolophu enabantu abaMhlophe nabantu beBala abanembali enkulu yokuziva besekhaya kule ndawo; elindele ukuziva esekhaya ngokwenene.

Monkey Business Bronze, stainless steel The artist’s work often has to do with the animal/human interface. Baboons and people in the Cape often confront each other across an abyss of incomprehension in a clash of wits and will. It is a meeting of nature and culture - the animal and the human. This is sometimes tragic and often humorous.

Streke uithaal Brons, vlekvrye staal Die kunstenaar se werk is dikwels gemoeid met ontmoeting tussen dier en mens. In die Kaap konfronteer bobbejane en mense mekaar dikwels oor ‘n afgrond van onbegrip in ‘n botsing van vernuf en wilskrag. Dit is ‘n ontmoeting van natuur en kultuur - die dier en die mens. Dit het soms tragiese en dikwels humoristiese gevolge.

Umdlalo wenkawu Isinyithi, intsimbi / brons, vlekvrye staal Umsebenzi womzobi usoloko unento yokwenza nendibano yezilwanyana/nabantu. Iimfene zisoloko zingquzulana nabantu eKapa ngenxa yokungaqondani nontlithwano lwezimvo, ulwazi neminqweno. Yindibano yendalo nenkcubeko – isilwanyana nomntu. Ngamanye amaxesha iba yinto embi nangona ihlekisa amaxesha amaninzi.

Reflect Glass reinforced polymer, concrete The artist is mainly concerned with man and show a group of seven life size female figures in conversation. The author Ralph W Emerson said that conversation is a game of circles - in conversation we pluck up the termini (end /boundary) which bound the common silence on every side.

Kyk Weer Veselglasversterkte hars, beton Die kunstenaar is hoofsaaklik gemoeid met die mens en toon ‘n groep van sewe lewensgroot vrouefigure wat gesels. Die skrywer Ralph W Emerson sê dat ‘n gesprek is ‘n spel van sirkels – in geselskap bring ons die termini (end/buitenste rand) bymekaar wat die gemeenskaplike stilte omsluit.

Qwalasela Iglasi enyanzelisiweyo emibala-bala, ikonkrithi / veselglas-versterkte hars, beton Umzobi uqwalasela kakhulu indoda aze abonise iqela labafazi abanobomi obungange sixhenxe ubukhulu, benencoko. URalph W Emerson umbhali wathi incoko ngumdlalo weesekile – encokweni siba nemida/isiphelo esibiyela ukuthula kwabantu kumacala onke evela kuwo incoko.

1000 cranes Origami paperfolding, mirrors Imagine entering a magical room where all your stress is dissolved. A room filled with soft chirping sounds and 1000 origami paper cranes folded, strengthened, attached to quirky swivels and multiplied by surrounding mirrors to create a prayer for world peace. In this interactive installation, based on the Japanese tradition of making a wish come true with the folding of 1000 paper cranes, the public is invited by social artist Ronèl Geldenhuys from Afrigami to take part and find their own inner peace in this unique experience at the Oude Libertas art gallery in Stellenbosch.

1000 kraanvoëls Origami papiervoukuns, spieëls Stel jou voor jy stap in by ’n magiese kamer waar al jou stres wegval. ’n Kamer gevul met ’n sagte getjirp en ’n duisend wit origami papierkraanvoëls, elkeen sorgvuldig gevou, verstewig, aan sy eie spil geheg en deur spieëls aan alle kante vermenigvuldig as ’n gebed om wêreldvrede. Met hierdie interaktiewe installasie, gebaseer op die Japannese geloof dat ’n wens waar word met die vou van ’n duisend papierkraanvoëls, nooi die sosiale kunstenaar Ronèl Geldenhuys van Afrigami die publiek om deel te neem deur hulle eie vrede te kom vind met ’n unieke ervaring by die Oude Libertas kunsgalery in Stellenbosch.

Iindwe ezili-1000 Origami ukusonga iphepha, izipili Yiba nombono ungena kwigumbi elingumlingo apho zonke iingxaki zivela ziphele. Igumbi elizaliswe yingxolo yeendwe eziliwaka ezenziwe ngokusonga iphepha le-origami, lomelezwa, lancanyathiselwa ukuze likwazi ukujikeleza liphinda-phinda, lingqongwe zizipili ukwenza indawo yokuthandazelela uxolo elizweni. Kulo mnyadala omiselwe intetho nosekelwe kwisiko lamaJapani lokwenza umnqweno uphumelele ngokusonga iindwe ezili-1000, uluntu lumenywa ngumzombi wezokuhlala uRonèl Geldenhuys, ovela kwa-Afrigami luthathe inxaxheba ukuze lufumane uxolo lwangaphakathi kulo msebenzi wahlukileyo kwigalari eyi-Oude Libertas eStellenbosch.

Protea Bush Stainless steel It is a personal attempt at representing a South African iconic shrub - the artist calls it an interconnected gauss. He reinterprets the familiar image and the context as a cultural mesh, as common ground.

Proteabos Vlekvrye staal Hierdie is ‘n persoonlike poging om ‘n Suid-Afrikaanse ikoniese struik voor te stel – die kunstenaar noem dit ‘n gauss wat onderling verbind is. Hy herinterpreteer die bekende beeld en die konteks as ‘n kulturele network, as gemeenskaplike terrein.

Ityholo leProtea Intsimbi Ngumzamo womntu ngamnye ukumela isihlahla sodumo saseMzantsi Afrika- umzobi uyibiza igosi enxibelelanisa izinto ezininzi. Xa ewutolika uthi ngumfanekiso ngqondweni oqhelekileyo kwisimo asibiza ngokuba yingxubevange yeenkucubeko.

Lady in our reflective dress Marble resin with chrome plating We see her every day and yet miss her completely. You can see you in her. Is she who she appears to be or is her clothing her shield? Today you may see your own shield in her. Every preconceived picture and perception we have of her becomes a cloak with which we wrap ourselves. Look! See yourself.

Dame in ons weerkaatsende klere Marmerhars met chroom platering Ons sien haar elke dag, maar het haar nog nie raakgesien nie. Jy kan jouself in haar sien. Is sy wie sy hier voorkom of is haar klere bloot haar skild? Vandag kan jy ook jou eie skild in haar sien. Elke vooropgestelde prentjie en persepsie wat ons van haar het word nou die mantel waarin jy jouself toemaak. Kyk! Sien jouself.

Inenekazi elinelokhwe esiyiqwalseleyo Intlaka yomgangatho welitye imabhile enomqhino wekhrowum Simbona yonke imihla kodwa siyamphosa. Ungazibona kuye. Ingaba ungulo mntu abonakala enguye okanye ingaba impahla yakhe ilikhakha lakhe? Usenokubona ikhakha lakho kuye, namhlanje. Wonke umfanekiso esinawo ngaye nendlela esimbona ngayo iba sisambatho esizambathisa ngaso. Jonga! Zibonele.