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Review

Jessica Webster, Untitled: Layla - diptych, 2017. Wax and oil on canvas
A review by Amie Soudien

The Sanctuary Disturbed: Jessica Webster’s ‘Wisteria’

Rebecca Haysom, Untitled (Steeple Leg), 2017. Collage on paper
A review by Nicola Kritzinger

The Cutting Room Floor: Rebecca Haysom’s ‘The Tiger’s Bride’

Sanell Aggenbach Elysium, 2017. Oil on canvas, 100 x 127 cm
A review by Felix Kawitzky

Trace Decay: Sanell Aggenbach’s ‘Bend to Her Will’

Dorothee Kreutzfeldt, extensions to the lot line 1, 2017. Acrylic and mixed media on canvas, 140 x 180 cm
A review by Quanta Gauld

Constructed Cities: Dorothee Kreutzfeldt’s ‘Extensions to the Lot Line’

Mikhael Subotzky WYE, 2016. Three-channel video installation
A review by Lwandile Fikeni

Manufacturing Otherness from Within: Mikhael Subotzky’s ‘WYE’

Gabrielle Raaf Old Masters (Wild Almond), 2017. Water-based oil on canvas
A review by Isabella Kuijers

Specificity and Abstraction: Gabrielle Raaf’s ‘Trail’

Brett Murray, Again/Again (Monumental), 2015. Bronze, 250 x 182 x 265 cm
A review by Tymon Smith

😂 Until You 😭: Brett Murray’s ‘Again Again’

Andrew Tshabangu, Rosary Room 2435, 2010. Archival pigment print
A review by Philiswa Lila

Tracks and Traces: Andrew Tshabangu’s ‘Footprints’

Thania Petersen God Save Our Hedge 1 (Botanical Imperialism Series, 2015. Photographic print
A review by Amie Soudien

Backwards and Forwards: Thania Petersen’s ‘Remnants’

Blessing Ngobeni, Save This Democracy, 2016. Mixed media on canvas, 164 x 350 cm
A review by Motlatsi Khosi

Black Art, White Galleries: Blessing Ngobeni’s ‘Masked Reality’

Lakin Ogunbanwo, I Looked Into Myself, 2016. Light-jet print, 100 x 150 cm
A review by Percy Mabandu

Imagining the Spoken Colour of Skin: Lakin Ogunbanwo’s ‘We Must Not Be Looking’

Jody Paulsen Pushing Thirty, 2016. Felt collage
A review by Lloyd Pollak

A Sisyphean Push: Jody Paulsen’s ‘Pushing Thirty’

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Ashley Walters, Construction. Giclee print on cotton rag, 29.7 x 42 cm

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