F  O  U  R  F  O  L  D

24 April – 26 May 2026

W E   A R E   H A U N T E D

C E D R I C   V A N D E R L I N D E N

To know ourselves, we must know our place in the flow of narratives and histories, and this demands an internal, personal, and cultural archaeology of sorts. The current schizophrenic political and capitalist Zeitgeist actively opposes this undertaking. It doesn’t want us to be self-possessed and self-aware. It functions best when we are trapped in an atemporal, a-cultural, neo-libertarian eternal now, where nothing is new and everything exists for an instant. Structures like long-term employment are replaced by the gig economy, meaningful narrative replaced by nostalgia and ironic nods, movies are dominated by brands and “universes,” and technological gimmicks and cosmetic advances have replaced social and cultural engagement. We are adrift. We exist in no time, in the shadow of an existential environmental crisis to end all.

My paintings are a futile act of rebellion against this status quo. They are the evidence of a personal dialectic archaeological process. And they are an invitation to the viewer to do the same. Together, maybe, we can reach across the Capitalist Real and have a shared encounter with the Sublime Terror of the age.

In the shadow of annihilation, we are haunted by a future that we will never be, while we haunt a present that doesn’t exist.

A B O U T   T H E   A R T I S T

Born in Brussels, Belgium, I now live and work in Gqeberha. I obtained both a National Diploma in Fine Arts (1994) and a BTech in Fine Arts Painting (1995) from the Port Elizabeth Technikon, and a MTech in Fine Arts Painting from Nelson Mandela Metropolitan University (2013). Since the beginning, I have participated in multiple group and solo exhibitions. My work has been shown in Europe and in the USA, and in numerous local and South African galleries, museums, and showrooms. Additionally, over my career, I assumed multiple professional roles. At the NMU, I lectured Art History and Art Theory for several years. And that ignited my passion for art education. Over the years, I have taught art, art theory, graphic design, and art history to adults and children, in one-on-one and group settings, in person and online. I also ran figure drawing classes for over 25 years. I was, also, for a time, the owner and curator of Underculture Contemporary, and now own and manage Art on Main in Walmer Park, all the while continuing my personal studio practice.

4 9 9  M U G S

(Because everyone needs one)

A N D   S O M E   O T H E R   T H I N G S 

M A R K   D O D D

In most homes in the world, we will find mugs. Small ones, big ones made from various materials, ranging from metal to clay, plastic to glass. My mission is “to create objects of beauty for everyday use.” This idea, combined with the recognition that mugs are among the most used household items, inspired the development of this exhibition. Each mug was thrown on the potter’s wheel as a one-off piece, rather than as part of a set, reflecting an intention to highlight individuality in functional design.

I’m fascinated by the wood firing of ceramics and as a result most of the items have been fired in this manner. Fire imparts qualities onto the work that cannot be achieved through any other method of firing. There is however a price to pay as some pots warps and pick up dust from the wood making them “imperfect”.  The Japanese have a term called “Wabi-sabi” that roughly translates into finding beauty in the imperfect. Like with people the marks made by the “fire” are more visible on some pots. These marks are often what add character and individuality.

We all aspire to a certain standard of perfection, one that evolves as our skills and knowledge grow. This exhibition reflects a moment in my journey and presents some of the best work I have produced so far.

A B O U T   T H E   A R T I S T

I live and work in the Elands River valley close to Gqeberha, trading as Grumpy Bear Ceramics. After achieving a B. Com degree from UPE, I worked in a number of financial and managerial positions in the Gqeberha area. My story with clay started on 4 December 2019 when my mother, who has been a potter since my youth, showed me the basics. She gave me the use of her studio which I used for about a year, in which time I also set up my own studio next to our family home. She also gave me my first pottery equipment. Shortly after being in my own studio, I was approached by some people interested in pottery which led to me teaching weekly classes. In addition, I have hosted a number of full day workshops. Most of my work is done on the potter’s wheel. Since I have no formal training in ceramics, I would describe myself as mostly self-taught.  I spent a lot of time reading and watching online videos about ceramics and have practiced the techniques taught therein on my own. I am inspired by the work of traditional and studio potters from all over the world. The field of ceramics is so vast that it is my belief that no one person can possibly master all of it in a lifetime. It’s at the same time humbling and motivating knowing that I will never get bored or run out of new things to try.

I N T E R R E G N U M:  V I G N E T T E S   O F   A   D R E A M   W O R L D

L I S A   L E D W I C K

The body of work on display continues from the original exhibition “Soliloquy: the untold story of Sleeping Beauty’s dreams” (2014): the narrative begins as Sleeping Beauty descends into sleep and then ends upon her awakening. INTERREGNUM focuses on featurettes such plants and the environment, instead of the journey that Sleeping Beauty goes through. By focusing on the dreamscape rather than the journey, the aim is to highlight often-overlooked elements and reveal subtle beauty, allowing Ledwick to further develop the dreamscape world.

Literature such as the fairy tale “Sleeping Beauty” (1697) is a seminal text for the overarching narrative of this body of work. However, poems, lyrics, movies and other texts such as the “Southern Reach Trilogy” (2014) by Jeff Vandermeer (1968-), become the main influence for this current exhibition. Other influences such as the prints of Ernst Haekel (1834-1919), Golden Age botanical illustration (1750–1850), the focus of line in Art Nouveau (c. 1890-1910) and the philosophy of the art movement Romanticism (c. 1800-1850), have also played a role in creating visual inspiration for the art pieces. Seemingly eclectic and disparate, the commonality between this inspiration is that they feed into a bigger personal narrative. Ledwick’s practice delves into themes of memory, myth, and psychological reflection, at times revisiting traditional narratives through a feminist lens. The continued evolution of “Soliloquy” reflects her commitment to merging storytelling with visual symbolism to explore questions of identity, agency, and emotional transformation.

A B O U T   T H E   A R T I S T

Lisa Ledwick (b. 1986) is an artist and educator, originally from Gqeberha, South Africa. She is a printmaker and illustrator by trade and uses these mixed media techniques in her art. Ledwick’s work explores the space between memory and myth: using drawing, printmaking, and digital collage as tools to navigate the emotional terrain of nostalgia and psychology. She is drawn to the psychological undercurrents that shape our experiences and how we carry these into the present. Symbolism, archetype, and elements of fairy tale recur throughout her work, not to escape reality, but to interrogate it against culture as a whole and also her own personal narrative. In doing so, she hopes to create a visual language that speaks to agency, transformation, and the search for meaning.

T H R O U G H   A   G L A S S,  D A R K L Y 

Defining order through creative movement to dampen internal chaos

A M A N D A   D E   W E T

Through the physical act of repetition in mark-making; the ambition to establish a state of “flow” (enhanced mental continuity between hand, mind and experience) becomes inevitable. In flow, a person is fully immersed in energized focus – that is to say concentration. This condition is characterized by complete absorption in the task, resulting in the transformation of one’s notion of time. Time (as often occurs when one dreams) becomes elastic.

The anvil upon which this transformation is beaten is, perhaps ironically, one’s total concentration in each passing moment and its relationship with the resulting physical gesture. Greater inner clarity, a sense of serenity and indeed even ecstasy is achieved that transcends the confines of daily pragmatic reality. Through what becomes such effortless drawing action, I experience free-flowing, uncomplicated personal harmony and an absence of conflict. Here I refer the reader to the Taoist concept of Wu Wei: a state of perfect knowledge. If drawing is to be considered a social activity, then I must include drawing (in a state of flow) as being a process that facilitates – for me – a greater degree of savoir faire. Namely it enables me to negotiate with the world more appropriately than my experience with verbal communication. Drawing therefore becomes residual evidence of flow. Flow, therefore functions as a device recording time and a measurement of it: an instrument that both marks and documents, ultimately archiving these incremental thoughts and physical gestures in visible material form.

A B O U T   T H E   A R T I S T

I was teaching the glass course at the Fine Art Department at the NMU from 2002 until 2012 and thereafter moved to the printmaking department until 2018 where I was teaching printmaking and illustration. I developed the glass department from being a purely stained-glass facility to a comprehensive course that offered numerous glass practices including all kiln formed and cold working techniques such as slumping, casting and engraving. During that time, it was the only tertiary institution in South Africa offering such a comprehensive course.  In addition to my own interest in glass as a fine art medium my aim was to develop and build knowledge regarding glass processes with the intent to help build the glass department into a multi-disciplinary facility, incorporating all aspects of glass. During my time at the printmaking studio, I taught all processes including relieve, intaglio and planographic printing and reintroduces stone lithography. I am currently the curator and glass restorer at the Owl House Museum in Nieu Bethesda and is involved in other projects including private commissions, exhibitions and workshops.