Stevenson
04.07 - 15.08.2026

Stevenson’s Alexander Richards and artist Igshaan Adams co-curated the exhibition, ‘The Departure’ by Peter Clarke. Drawing from a 1955 short story written by Clarke, the exhibition brings together paintings, drawings, prints and ephemera, showcasing the artist’s extensive oeuvre. 

Set in Simon’s Town – where Clarke was born and lived until he was forcibly removed in accordance with the Group Areas Act – the short story, The Departure,  details the life of a young boy, Benny and his friend Augie – following them as they encounter love, isolation and companionship. 

With this as a setting off point, the two curators set about tracing narrative constellations that connect Clarke across multiple literary and artistic disciplines. 

We reached out to Alexander and Igshaan and asked them a few questions about bringing this show to life. 

Can you tell us about the impulse behind showcasing a historical artist and historical work? Although this is routine within a museum setting, we don’t see it as often within a gallery setting. 

AR: In some weird way, I don’t see it as historical work – maybe because Clarke only died in 2013 and Stevenson had worked with him for two exhibitions and two publications before his death. But I also think the gallery has a history of showing 20th-century and historical work, sometimes pairing these works with contemporary artists.

Both of you have encountered Clarke many different times throughout your careers – in many different settings. What surprised you most, working through the material to bring this show together? 

AR: I was unlucky in the sense that I never met Clarke and only really knew of his work after I’d moved to Cape Town from Johannesburg. What surprised me most was his meticulous labelling and dating of most things he made or even came across. Photo albums, sketches on the back of napkins, test prints are all dated and often inscribed with poetic gems or arbitrary notes. 

IA: His wicked sense of humour for me. The biggest surprise came at the opening when Sean O’Toole shared with me a recipe by Peter Clarke on how to cook a missionary called “Missionarie au vin”. It was published in the book “Artists’ Palate: A collection of artists’ recipes” compiled by Eduard Ladan and Jean Doyle.

Did you find it necessary to build a kind of narrative history in painting the picture of the artist? How did you navigate this?

AR: Sometimes it feels like we rely too heavily on the biography of an artist, particularly when they are dead. In this case, the short story we used to base the show on was part biographical in the sense that it was set in Simon’s Town, around a waterfall we know Clarke visited throughout his childhood and early adult life.

IA: It became snippets of stories that collectively give you a sense of his connection to the place and its people, but doesn’t necessarily lay out a clear timeline or narrative. We get to borrow his eyes and look with no judgement.

I’m also interested in your particular process curating this show together – I believe this is the first time you have worked together in this capacity? How did that process unfold for you?

AR: The process was enriching; it is especially interesting for me to work with an artist to curate another artist’s work. I believe most artists are innately curators, but Igshaan has shown through his project space, Breakroom, how he is interested in exploring and developing other artists beyond the usual. 

IA: From exploring Simon’s Town together and sharing Peter Clarke’s writing material, and then making final selections for the show, it was easy and fun to connect with Alex around Peter Clarke’s work.

Can you touch on the title of the work? ‘The Departure’, evoked by the image of flight. What does this title communicate?

AR: The title of the exhibition is borrowed from the title of Clarke’s 1955 short story. We both liked how the title was open for interpretation. If seen in relation to a drawing of boys releasing doves, it might have a different feeling than if it was viewed next to a linocut like ‘The Wake’. ‘The Departure’ also felt like ‘a’ departure, from where we could explore themes in Clarke’s written and artistic work. 

IA: For me, the title speaks of a final departure, the finality of death – a departure with no indication of return. I think that’s how I relate to the title. I thought that someone has to arrive first in order to depart.

Can you share any important resources for inspiration – music, films, books – that you think could travel well with Peter Clarke’s sensibility? 

AR: The main inspiration is the sights and sounds of Simon’s Town itself. You can track the artist through the roads he was born and lived in, the waterfall, the mosque which he depicted often or the church which houses his stained glass window, commemorating the victims of forced removals. I think he was fond of Jazz – in his later work Fanfare – he basically makes a fan for figures he is a fan of – there would be a lot of clues there. 

IA: I kept remembering the Japanese film ‘Departures’ during this project, a film that has always stayed with me since I saw it on its initial release back in 2008. The film follows the life of a cellist who moves back to his old hometown after losing his job.