Art Catalogue Wayne Barker 2013

Wayne Barker’s artistic career spans two decades, marked by a bitter-sweet mix of
politics, poetry and a passion for subversion. Barker’s work over the last several years
has sought to work out his identity (as a white person of Afrikaner heritage) in relation
to South African history. His work has dealt with apartheid South Africa’s most violent
years to the new democratic dispensation, but always trying to explore the contradictory
impulses of an ‘African identity’. Identity politics, as well as African state politics are
intrinsically linked to the continent’s commodification. Barker’s work tries to show how
these factors are all intertwined in everyday identity politics. His paintings try to interrogate
a history of colonialism, racism, the way people view Others, issues of identity
and culture.
At times part Pop Art, at others a layered deployment of traditional genres and media,
Barker’s work stands as much an indictment of colonialism as of misplaced political
correctness, From the first seduction to the twist in the gut, it is as beautiful as it is
provoking. ‘The Coke Adds Life’ series is a ghoulish installation dealing with the awful
irony of the cheapness of consumerism and the cheapness of life during the civil war
in Mozambique in the 1980’s. The glamourising of a multinational carbonated sugar
beverage in preference to subsistence food is reminiscent of Marie Antoinette’s absurd
statement revisited in Africa two centuries later. The installation, adorned by contemporary
advertising lights, AK 47’s, traditional religious icons and a Tonga maize-grinding
vessel are chilling reminders of the clash between past and present, ‘Blood’ and ‘Hope’,
impassive multinationalism and ancient rituals in the chaos of present day Africa.
Brenda Atkinson

« Over the years I have always been interested
in the economic and social changes taking
place in South Africa: the plight of the underprivileged
is at the heart of my subject matter.
Using fragments of Pierneef’s paintings as
readymade, my work suggests new meanings
from the past colonial way of seeing Africa.
My work depicts the anarchy of a society in
transition, a country trying to make sense of it
all.»
Transit Culture / 1990 / oil and found objects on canvas / 118 x 127 cm

Hope / 1995 / mixed media and neon tubing on wood / 200 x 123 cm

Sorrow / 2007 / oil, neon and objects on canvas / 200 x 200

Clandestin / 2008 / mixed media and neon tubing on board / 181 x 243 cm

Wayne Barker is a latter day Guy Debord, a belated artist who would have fitted in
perfectly with Debord’s coterie of Situationist International artists. Such artists are ‘psychogeographers’,
exploring and reporting on psychogeographical phenomena, or on the specific effects the
geographical environment, consciously organized or not, have on the emotions and behaviour of
individuals . Their chief means of psycogeographical investigation are the strategies of dérive and
détournement, the former being defined as drifting and deliberately trying to lose oneself in the city
, a feat early and admirably achieved in Barker’s 1980s Pretoria map works , and also, admirably,
and ironically, in ‘loosing’ himself in his South African National Defense Force stint. The latter,
détournement, is defined as the transformation of both everyday ephemera, such as advertising
slogans and comic strips, and significant cultural products, such as old master painters . Barker deconstructs
typical Pierneef landscapes, using them as ‘wallpaper’ for his own exploration of place.
Barker is a veritable psychogeographer of the South African landscape.
For these ‘geographers’ détournement is “a method of propaganda, a method which testifies to the
wearing out and loss of importance of these [old cultural] spheres.” Essentially, it is a form of
redistribution of culture. Détournement could, however, also be described as ‘creative plagiarism’.
According to Lautréamont, however, “plagiarism is necessary. It is implied in the idea of progress.
It clasps an author’s sentence tight, uses his expressions, eliminates a false idea, and replaces it
with the right idea.” Many precursors of the Situationist International can thus be identified such as
the Dadists, the Surrealists and the Lettrists.
Wayne Barker’s psychgeographical strategies have evolved dramatically over his prodigious artistic
career. He no longer loses himself in and through his art. He has found a place in the South African
art world. He redistributes culture in a unique way. “Everybody wants to find their place in the
world” according to Tacita Dean and Jeremy Millar . But where is it and what is it? How does one
recognize place as important and not merely empty space? What makes one place special and another
not? In a world where people continuously fight over land, where land is readily and sometimes
violently redistributed, where some spaces are safe and others not, place is a living reality that
can cause conflict or bind people together. In Barker’s art he is quite explicit: the words, ‘worlds
apart’ echo through many of his landscapes.
Barker’s art stands midst in the contemporary art world and its endeavor to reinvent place: Dean
and Millar’s book explores exactly that: they show that “some artist find inspiration in the heterogeneity
of the crowded city street, while others celebrate the wilds of nature as a counter to urban
life. Some present imagined or fantastic worlds of their own invention, or explore the way place is
often a creation of the mind. Others investigate the deep marks that myth and history can leave on
the land, or consider how place can be used as a form of political control. Territorial divisions demarcating
one place from another, often with terrible consequences, are the chosen subject-matter
of many artists; others prefer to look at itinerant wanderers with no claims on the earth, or to focus
on anonymous non-places that lack any real identity of their own.” Barker stakes his claim in this
landscape of landscapes unequivocally: “I am interested in how the media, through popular images,
inform, confuse and rape the African continent. For the past two decades, since 1987, I have also
been dealing with land, which is quite trendy now. My approach has been to deconstruct the icons
of South African painting, particularly works by Pierneef.”
Barker’s art is as much the deconstruction, the ‘wearing out’ of obsolete cultural icons, as it is
about the reconstruction, the restitution of the landscape. He was, however, overlooked for many
prestigious exhibitions dealing with issues of land and place, notably, Panoramas of passage: changing
landscapes of South Africa that toured the US in 1995. His work is also often omitted from political
redress in perfunctory exhibitions hailing the South African ‘decade of democracy’ or from
the faddish quest for a new South African identity . Wayne Barker is, however, not a marginalized
artist, working in the margins: he has made his mark, quite literally, on Pierneef prints, and on the
South African art scene, as well as the international art circuit, having exhibited his world map installation
of army uniforms and beer bottles, entitled The World is Flat at the Trade Routes:History
and Geography Biennale in Johannesburg (1997) and doing his performance piece at the Venice
Biennale (1997), washing the feet of the curators, forgiving them for the sin of omitting Africa from
this prestigious event.
He has not only become a (re)distributor of culture, but also a painterly cultural theorist, analogous
to the literary cultural theorist, JM Coetzee. It is no coincidence that when Coetzee wrote White
Writing: On the Culture of Letters in South Africa (1988), critiquing the picturesque and the sublime
in the South African landscape in the travel writing of the 19th century colonialists William
Burchell and Thomas Pringle (and their futile attempts at taming this wilderness), Barker was
critiquing the picturesque in contemporary South African art. Barker has been trying indefatigably
to make sense of the morass of the post-colonial apartheid legacy with regard to land, as well as of
the effect globalization has on place. Barker’s art is no mere critique; it is a quest for the essence of
freedom of a place. He realigns the politics of place: violence in and conflict over land give way to
introspection over the peace of and in a place. Barker ceaselessly asks whether freedom is merely
fought over, whether freedom is bought, or whether freedom is simply given to people. Wayne Barker
has always reflected the complexities of the South African cultural mix in his work . Cultures in
his work, however, are never ‘worlds apart’. Rather, they are hybrids of each other: mutually affecting
and reflecting change among one another and finding mutual co-habitation in this place we call
South Africa.
Wilhem Van Rensburg
Art on Paper Gallery

Hope 2007 / oil, neon and objects on canvas / 200 x 200 cm Masked Landscapes 2004 / enamel on digital prints / 25 x 25 cm

The Rest is History / 2008 / mixed media and neon tubing on canvas / diptych / 200 x 400 cm

LAND & DESIRE SERIES //
B arker’s landscapes, which unlike ,Pierneef’s have superimposed images of people, as well as
being overlaid with pop imagery indicating material desire, also contain cartographers’ signs and
route markers bringing to mind the subordination of the land under the colonists’ control. Marking
and mapping imply possession (and dispossession) and, as we look deeper into his paintings, we see
how possession and desire are linked. He also uses words to emphasise his theme and these words,
which are scattered sparingly across the compositions, tease out ideas. “ Worlds”, “apart”, “desire”,
“land” all come together in a relationship of control and commerce.
T his serie is undoubtedly built on his own artistic history where he has, in one way or another,
pursued the same ideas. Sometimes this pursuit has been outrageous and symptomatic of a man
who is angry with a complacent society. These works veil that anger by attractive surfaces but their
strength lies in that passion, which is the quality which lifts Barker’s work above the ordinary into
the extraordinary.
CAROL BROWN
Untitled / 2004 / monoprint and enamel on canvas / 19 x 17 cm

Untitled / 2004 / monoprint and enamel on canvas / 19 x 17 cm
Untitled / 2004 / monoprint and enamel on canvas / 19 x 17 cm

ROCK’N ROLL SERIES //
Vaak en Moeg / 2010 / oil and neon tubing on canvas / 200 x 200 cm Rock’n Roll Series / 2010 / mixed media on canvas / 216 x 190 cm

Mandela Light / 2010 / oil and enamel on canvas / 300 x 300 cm Jozie Rock ‘n Roll / 2010 / oil and enamel on canvas / 300 x 300 cm

LEGENDS SERIES //
T he ‘Legends’ series deals with individuals. Personally significant to the artist, they also
resonate in the history of South Africa. As ‘household names’ they have lost some of their individuality
and have become ciphers for a passage in South Africa’s story that they influenced, precipitated
or described. Nevertheless, behind the familiar face and the name attached to it lies an
individual life, far richer, more complex and nuanced than the invariable one liner that it evokes.
While Wayne Barker is undoubtedly referencing their contributions to our history, he also appears
to be demanding that we look beyond their obvious achievements to the personality that produced
them. In titling this series ‘Legends’ it seems that he is reminding us that a legend loses its grip on
the reality that produced it by being told too many times and by having too much erased (or conveniently
forgotten) that confl icts with the‘official’ story being told.
F or Barker the reason why they are remembered is the fact that they challenged the system in
one way or another. This defiance, be it of the system or of the conditions they found themselves
in, is what draws him to his subjects and underpinning each painting as a process of research into
their lives. Each work is his personal take on their actions for change or reform. These are his
legends and he has created a tableau in which their need to act, their refusal to accept injustice
and their desire to better that which is around them are what engages him. When he speaks of his
‘legends’ he does so with genuine affection and admiration. I suspect he sees them as fellow-strugglers
against injustice and this comradery evokes a playful familiarity which sees C.J. Langenhoven,
author of Die
Stem, facing-off against Enoch Sontonga, author of Nkosi Sikelel i’Africa, in Duel. The punning
title has as much to do with them fi ghting it out, High Noon style, as it does to their dual role as
authors of our current national anthem.
Legends Serie / 2010 / oil on canvas, neon tubing and objects / 138 x 138 cm

Siel: Nelson Mandela / 2010 / mixed media and neon tubing on canvas / 138 x 138 cm
Miriam Makeba / 2010 / oil on canvas, neon tubing and objects / 200 x 200 cm

DRAWINGS //
FEAR / 170 x 170 cm / pastel charcoal and enamel
Money for Nothing and the Chicks for Free 1 & 2 / 2010 / digital prints and watercolor 30 x 40 cm

Untitled / 1997 / 300 x 170 cm / pastel charcoal, celotape and enamel Le Monde à l’Envers / 1997 / 300 x 170 cm / pastel charcoal, celotape and enamel

WATERCOLORS //
DANCE OF LIFE

PORTRAITS //
Ladies of the Night / 2012 / oil on canvas / 39.5 x 27 cm

Young Woman in Berlin 1 & 2 / 2011 / water colour on paper / 30 x 20 cm
Amy 1 & 2 / 2012 / oil on canvas / 30 x 20 cm
Ladies of the Night / 2012 / oil on canvas / 39.5 x 27 cm

HEALING SERIES //
H ealing has been a central theme for Barker for many years. Along with his under-recognised
social responsiveness this can be seen very clearly in The Bees, the Beekeeper, the Children and the
Artist (2007-2008). Submitted as his work as a finalist in the Sasol Wax Awards (won in that year
by Walter Oltman) the final work presented was underpinned by a complex process of collaboration
and community engagement that would have ramifications lasting long beyond the duration of the
exhibition of the works. Beginning with a workshop with underprivileged kids that Barker encountered
in Troyeville he had the children trace their hands (and other symbolic drawings produced) on
pieces of paper. These drawings were then taken into the fi eld with a beekeeper and the children
cut the traced images out of active combs and then replaced them in the hives. Over the weeks the
bees worked to rebuild the missing areas of their hives but the scar made by the incision led to the
new area formed on the comb being constructed from wax cells of a different colour and texture to
the original. Clearly referencing the legacy of damage and the process of healing, the reformed
hives became an integral part of multi-media panels that Barker created as a series.
@africa.com / 2001 / found objects and oil on canvas with recycled books / 200 x 400 cm

Guérir / 2007 / beeswax, paraffin wax, oil paint, neon tubing, paper / 140 x 80 cm

JOBURG, CAPE TOWN & POLOKWANE ART MUSEUMS //

STANDARD BANK MUSEUM & CIRCA GALLERY //

Red light Jozie /, 200 x 200 cm, oil, neon and objects on can-
« Most of the women portrayed in the beadworks are real women who have been photographed.
Often from Zimbabwe, Zambia and Swaziland, they are mostly well educated, but
through circumstance have been forced to turn to prostitution to survive. The concept of a
beadwork is meticulously thought through and conceived over a short period. While making
the drawings on computer I am very aware of the pop artists as well the way Wassily Kandinsky
produced: fast and furious. Beads cant be mixed like on a pallet, so flattening colors
is a key consideration when composing the work. In the past I deconstructed and used
images, putting African craft objects onto my Pierneef paintings. In the current bead works
I use Pierneef’s landscapes as found objects that I collage into images of my experience of
everyday life in 2013»

BEAD WORKS //
I n this series, Barker has drawn upon local craft and materials to invent his own language of critique
and celebration. These new artworks are constructed from strung glass beadwork (an African
technique for presenting symbolic meaning in visual terms that has been utilized for centuries) to
make a seemingly fl at, painterly plane that also has a three-dimensionality embedded in it. Within
the history of South African visual art language, networks of strung beads have been employed for
everything from simple ‘love letters’ presented by a maiden to her beloved to the adornment of
princely palaces and everyday ceremonial costume. These have usually been ascribed to‘traditional’
or ‘native’ production.
I n the work Barker presents here, this rich tradition has been appropriated to present a visual
plane that viscerally echoes the very medium of oil paint: the suspension of solid particles in the
carrier of oil or another medium. While echoing mosaics and other similar art forms, Barker has
reinvigorated painting by addressing one of its own fundamental desires: the illumination of the flat
surface not just through strategies of perspective or drawing but also through the illusion of radiating
light by means of suspended particles of light that refract and project their own inner power of
illumination.
I n terms of subject, this series presents the promise of reconciliation by overlaying images of those
who could be claimed to have been most marginalised by apartheid and Pierneef’s vision – black
women – upon and into his re-problematised landscapes. This, coupled with a new interpretation of
the free abstract painterly gesture so typical of Wayne Barker invigorates his latest work as much as
it resolves both the picture plane and the subject it addresses. In this he has adopted a new language
of tolerance and in this new native tongue demonstrated the lie of the speech of hate which he has
so consistently raged against.
B arker has always raged, but the product of that rage is gentleness. Overarching all that he has
done is a desire to see healing take place. He has always been outraged by injustice but is always
prepared to see inherent good in people.

Land for Sale / 2012 / beads / 200 x 200 cm Lady Gaga / 2012 / beads / 200 x 200 cm

THE WORLD IS FLAT //
I t was at The Castle in 1995 that The World is Flat began its life as Is the World Flat? - on a show called
“Scurvy” organised by Barker, Kevin Brand and Brett Murray - in which they recolonised the military museum
and claimed it for contemporary culture.
F or Barker it was a milestone and a political victory. Particularly considering that in order to construct his
work - in the very first room ever built at the Castle - he would have to request materials from the army. In 1995
the Defence Force was trying desperately to incorporate the former resistance armies into its ranks. «I had to
negotiate with them,» says Barker. «I told them it’s all about forgiveness.»
T oday Barker says that “Scurvy” was the first time that he began to think globally about his work. That he
was looking at identity. What were his own colonial origins? Was the VOC logo - the first multi-national logo in
the world - a bit like the Coca Cola logo today? In a press release for “Scurvy” he added:
«Is this how we see the world through the media? Through a flat plain of images?»
Excerpt from the artist’s monograph, 2000..

TRUTH & RECONCILIATION
COMMISSION //
Europa Descending Africa / 1997 / neon tubing & plastic dolls / size variable
Notice / 1997 / 300 x 170 cm / pastel charcoal, celotape and enamel

Nothing Gets Lost in the Universe / 1996 / latex gloves and found objects /

Nothing Gets Lost in the Universe / 1996 / latex gloves and found objects /

COKE ADDS LIFE

Coke Adds Life» is a ghoulish installation dealing with the
awful irony of the cheapness of consumerism and the cheapness
of life during the civil war in Mozambique in the 1980s.
The glamourising of a multinational carbonated sugar beverage
in preference to subsistence food is reminiscent of Marie
Antoinette’s absurd statement revisited in Africa two centuries
later. The installation, adorned by contemporary advertising
lights, AK 47’s, traditional religious icons and a Tonga maizegrinding
vessel are chilling reminders of the clash between past
and present, «Blood» and «Hope,» impassive multinationalism,
and ancient rituals in the chaos of present day Africa.
Professor Alan Krump
His and Her Mozambique / 1995 / mixed media and neon tubing on metal / 200 x 246 cm

ERASURE //

A paper structure is turning as if by its own volition in the centre of a
darkened room. It has been torn and ripped and through the gashes
another cube of paper can be seen, its surface also gashed and pierced.
Upon this revolving screen two moving images are projected, their
subject hard to discern due to their projection on a damaged surface.
In the background, Bob Dylan’s song ‘Knocking on Heaven’s Door’ can
be heard, sometimes louder and then sometimes softer than the overlay
of other voices, taken from an archive of historical media recordings.
Around this three-dimensional kaleidoscope is a circular barrier of salt,
preventing direct access other than watching and listening.

Slave Painting Slave Doll / 1992 / media bronze plastic oil on belgium linen / variable sizes
She was the first black girl to go to
a white school but on the arm of a child.

Salt on the Wound / 2010 / Painted found objects Something Fishy / 2010 / Painted found objects
Black Label / 2010 / Painted found objects Shop til you Drop / 2010 / Painted found objects
PAINTED FOUND OBJECTS

Young Artist Who Signs Contract with a Galarist / 2012 / bronze 1/3 / 155 x 76 cm

WAYNE C. BARKER //
« There is always more to Wayne Barker that meets the eye, or the heart, for his legacy
will be an enduring one, as the best of the best this country has everproduced, reverberating
long afer his or our time.
It is impossible to overestimate Barker’s contribution the art worldas a whole. When he
founded F.I.G (Famous International Gallery), where artists who cut their teeth there,
reads like a who’s who of today’s art circuit: William Kentridge, Neil Goedhals, Lisa Brice,
Joachim Schonfeldt, Kevin Brandt, Kendell Geers, Stephen Cohen, Ian Waldeck, Barend de
Wet, MinetteVari, etc.
Braam Kruger, 2006 Business Day Art
PERSONAL
»
Born
Pretoria, South Africa, 1963
Tertiary Education
Postgraduate degree, Fine Art, Ecole des Beux Art, Luminy, Marseille, France, 1998
BA Fine Art, Michaelis, University of Cape Town, South Africa, 1984
Diploma Fine Art, Technikon Pretoria, South Africa, 1981
Awards
Volkskas Atelier, Merit award winner, 1998
Volkskas Atelier, Merit award winner, 1992
Other
Wayne Barker has been involved in numerous projects, symposiums and workshops, involving
academics, artists as well as children and communities.
Wayne Barker founded the Famous International Gallery, South Africa, 1989–1995
SOLO EXHIBITIONS
2012 ‘Love Land’, Circa Gallery, Johannesburg, South Africa.
2010 ‘Super Boring’ [solo exhibition and retrospective], SMAC Art Gallery,
Stellenbosch; Standard Bank, Polokwane and Standard Bank Gallery,
Johannesburg, South Africa.
2008 ‘Heal’ [solo exhibition], UCA gallery, Cape Town, South Africa Colletion101,
[group exhibition] SMAV Art Gallery, Stellenbosch, South Africa.
2007 ‘007’ [group exhibition], Polokwane Art Museum. Sasol Wax Art Award
Exhibition Johannesburg Art Gallery, Johanesburg, South Africa.
2005 ‘Land and Desire’, Gerard Sekoto Gallery, Alliance Française, Johannesburg.
2004 ‘Evidence’, ARTSPACE, Johannesburg, South Africa.
2003 ‘Black & white’, Art on Paper, Johannesburg, South Africa.
2003/2 ‘Lovers and Gurus’, Contemporary Art Space, Caen, France – 2 solo shows.
2002 ‘ITS ALL GOOD’, Crosspath Culture, New York.
‘Erratum’, Alliance Française of Johannesburg, South Africa.
2001 ‘Two Cousins’, Fig Gallery, London, UK.
2000 ‘Lost and Found’, NSA Gallery, Durban.
1999 ‘Fin de Ciècle’, Nantes, France.
1998 ‘Kunst is Kinderspielen’, Kunsthalle, Krems, Austria.
‘Beauty in Politics’, Millennium Gallery, Pretoria, South Africa.
‘All Washed Up in Pretoria’, Millennium Gallery, Pretoria, South Africa.
1997 ‘All Washed Up in Africa’, Gallery Frank Hanel, Cape Town, South Africa

COLLECTIONS //
South African National Gallery, Cape Town, South Africa, Sandton Civic Gallery,
Sandton, South Africa, Johannesburg Art Museum, Johannesburg, South Africa,
Durban Art Museum, Durban, South Africa, Gertrude Posel Gallery, University of
Witwatersrand, Johannesburg, South Africa, GENCOR Collection, South Africa, Anglo
American Collection, South Africa, SASOL Collection, South Africa, SABC Collection,
South Africa.Various private, local and international art collectors of note.
// SELECTED PUBLICATIONS, CATALOGUES AND ARTICLES //
Super Boring, celebrating 25 years of Wayne Barker’s work (catalogue), 2010, Marelize van Zyl
(ed). Published by SMAC Gallery, Stellenbosch, South Africa.
The ID of South African Artists (catalogue), 2004, Sharlene Khan (ed). Fortis Circus Theatre,
Holland.
Wayne Barker: Artist’s Monograph, 2000, Brenda Atkinson (ed). Published in association with
Chalkam Hill Press & the French Institute of South Africa.
Trade Routes: History and Geography (catalogue), 1997, Matthew DeBord (ed), 2nd Johannesburg
Biennnale.
Contemporary South African Art: Gencor Collection, 1997, Kendal Geers (ed) Art in South Africa:
The Future Present, 1996, Sue Williamson and Ashraf Jamal (eds)
Colours, (catalogue), 1996, Haus Der Kulturen Der Welt.
Africus: First Johannesburg Biennale (catalogue), 1995 Candice Breitz.
Black Looks, White Myths (catalogue), 1995, Octavio Zaya (ed)
Various reviews and articles in newspapers, art magazines and journals both locally and
international. Including: NKA: Journal of Contemporary Africa Art, USA, Art South Africa, South
African quarterly magazine, published by Bell-Roberts Publishing, South Africa, Revue Noire,
Paris, France, Flash Art, New York, USA, Frieze, London, UK, Art News, USA, Art Monthly,
London, UK, Art Forum, New York, USA, Asian Art News.
Various television and radio interviews both locally and international.
// CURRENT EVENTS //
A R T F A I R S 2 0 1 3 : London Art 13, Dubai Art Fair, Sydney Art Fair, Johannesburg Art Fair.
G R O U P S H O W S 2 0 1 3
June 2013 : ”My Joburg”, Fondation Maison Rouge.
Several local group shows in South Africa.
P U B L I C A T I O N S
1.Featured in“Earth Matters: Land as Material and Metaphor in the Arts of Africa»,
Smithonian Museum, 2013.
2. Featured in «Art at the end of apartheid» by John Peffer, University of Minnesota Press.
3. «Art in South Africa» by Sue W illiamson an Ashraf Jamal.
4. ’Super Boring’ catalogue, Standard Bank retrospective.
5. Artist’s Monograph, Wayne Barker.

His work is reminiscent of both the embattled emotional past and the present
in South Africa. However, his work is never gloomy or negative. His
strong emotional lifestyle is infused on canvas.
JOHANN KRITZINGER
27 FEBRUARY 2010, JOHANNESBURG
WHERE IS IT ?
Wayne enthusiastic reprobate friendly persistent good looking happy sad sensitive
rough tough father rich poor good bad drunk sober hard working lazy loving old
young fun sex art politics passionate shoes colourful money powder vomit friend
flamboyant painting drawing jacket hat computers objects galleries music drink paintings
women clean dirty sleep awake gallerist book.
BAREND DE WET, 2010, CAPE TOWN
«HATS OFF TO THE JOKER IN SOUTH
AFRICA’S CULTURAL PACK»