I escaped city living through a temporary house swop, a friend who had built her dream home away 3 hours outside of cape town needed to return to the city for work and medical treatment, I wanted out of city life. It was a wonderfully mutually beneficial arrangement that lasted for two and a half years before we managed to extricate ourselves from each other’s houses. It enabled me to without major financial commitment establish a life away from a city dependence.
I have not looked back and seven years later, I still live a rural life. My reason for leaving the city were many but the driving force was that I was changing careers from a documentary filmmaker back to my first love, art. I studied fine art formally at university but found that other interests and adventures pulled me in directions I had never anticipated. Studying art is both a blessing and a curse. It enables you to situate yourself within an art history context expanding your visual and cultural references and for this I am grateful. But it also stifles spontaneity and for me it severed my trust with my instinctual creativity because, so I was taught, there was a “”right and wrong” way of going about things according to lecturers biases. It took me five years of an chaotic, anarchist, experimental life in Berlin to undo my formal art education. And by that time I was more interested in filmmaking.
Filmmaking led to photography and that was a big reason why I left the city. I began an intense series of transformative self portraits using a photographic technique called “light painting”. The technique enabled me to transcend the solid flesh of my body and capture elemental energy forms. In all the portraits I am completely naked. Clothing felt too restrictive and identifying. I became immersed in discovering ancient, inner, mythological archetypes which were re-interpreted through my 21st century perspective. In order to access these much deeper layers, I needed intense focus, a lot of wild space, and quiet, exploration I found impossible in the pressure, noise and congestion of the city.
The mythological self portrait series I termed ‘Dark Light’ for I felt I was making the unknown visible, through (my own) embodied form in a way that could be captured on camera. It was immensely liberating as I felt I was finally freeing myself from a voyeuristic male gaze I had inadvertently internalised my whole life and was. It turned out to be a full time three year project, discovering and presenting myself through my own eyes.
During this time, I was taking long walks through exquisite fynbos which I was fortunate enough to be living in the midst of. It felt very organic that I transferred the same light painting technique and intense vision into exploring flowers. In fact one Dark Light sub series is the mergence of my female form with various proteas. So began my fascination with flowers, plants, expanding to insects and animals.