"By constructing spaces, placing slightly discordant objects amongst seemingly natural landscapes, Poynton creates a tension within her work that is intended to make the viewer uncomfortably aware of the act of perception."

"I have just carried on doing what I did as a child. It’s been one long continuous stream of making pictures to feel a sense of connectedness. Painting this way is a wordless exclamation….Sometimes people get cross with it because they hate that it’s not about anything, and that I just carry on with all this realism. This fiddle-faddle, this knitting."

"The physical, conceptual, mental or temporal flexibility that the three projects propose de-construct the sacredness of national memory narratives (shaped strongly by collective traumas and their political exploitation)."

"Art is an offering, a show that mirrors the show we form around ourselves as we move through our scenery."

""Penny Siopis is one of the few artists in the world today who can weave a material web of marks, gestures, voices, words, found things and painted surfaces to entangle the brute forces of history with the delicate threads of human vulnerability"."

"“I’m extremely proud to be a Black female African illustrator because this was a space, I’ll say 10 years ago, there weren’t a ton of us there,”"

"“There’s a certain way in which we tell stories that I think the world not only will enjoy, but I think the world needs.”"

""Shoebox collections like Poppy’s tower are a source of pride within sneaker culture, according to Wells. By having those boxes serve as her “vision board,”"

"“We need to see more female designers in the industry. There’s not enough,”"

"“I’d always associated that with Black people really creating groundbreaking, global, effective work and I really wanted to be a part of it.”"

"“Hair has been something that’s important for not only my family but a lot of African people as well; it’s really like the center of our identity in a way. So, when I started drawing, I’d draw people having really fresh haircuts or beautiful braids.”"

"“Within all of my work you’ll see nuggets of a zigzag and that represents cornrows that you see in beautiful patterns; you’ll see combs, you’ll see people that look familiar to myself and my narrative,”"

"The first time I learnt about Karabo Poppy Moletsane and her work was four years ago when she was unveiled as one of the African creatives, who collaborated with a major European brand."

""I love to travel, but I love most to come home again. It makes me happy if people like Ndebele art.”"

"“It’s always been a part of my journey since I was little, so it felt like it came full circle, and confirmed what I’m doing. And now my parents believe that this is a real job!”"

"“I feel immense pressure because I really want to represent my identity correctly and authentically, make sure it’s being celebrated and not exploited for monetary gain or trendiness. But I take comfort in knowing that my community really supports me, and is really encouraging me to continue to do what I do. And I trust my own decisions.”"

"“Ndebele painting comes from a context of architecture. It is the painting of the house.""

"While most of her work can be categorized as realism, a few series depart from her usual aesthetic in a more abstract project. Her current exhibition, Scenes of a Romantic Nature, draws on her connection to Germany by referencing the landscape paintings of German artist Caspar David Friedrich."

"From the outset, her attitude to painting has been simultaneously modernist and counter-modernist in its complex irreverence to the purity of both creative act and the physical medium."

"“When I started my (art) journey, I was really inspired by hip-hop, rap and basketball, and I’d always seen this theme of Nike Air Force 1s and Air Jordans,”"

"Her work, inspired by European rural life and nuns from the Sisters of Mercy order, achieved international recognition, with her Walking Nuns painting selling thousands of copies worldwide."

"Among those creatives were the impeccable Manthe Ribane and Nonku Phiri, I knew there and then that she was a force; given the calibre of brilliant women she was featured alongside. Her work was impressive then and still is now; she has not looked back since."

"In the context of South Africa, these questions inevitably touch upon the political and historical disposition of the space, as the historical surroundings inform us on a traumatic past of apartheid."

"“I came from a traditional art background, and seeing people use technology to tell stories really captivated me.”"

"“What we were learning was catered to more of a Western narrative, and we weren’t really seeing an African narrative being taught or explored, or even encouraged,”"

"“I was blown away by how people were creating digital art with all this software I’d never heard of, and communicating just using their art,”"

"“In the textbooks, there was traditional and primitive African art, nothing contemporary, or in the context of advertising or digitisation.”"

"“I see my work as breaking down something unusable in order to build it up in the form of an artwork which ideally will be kept indefinitely.”"

"“My goal is to always look intensely at the impact of what I do in my life, where something I use comes from, what it really is, and where it’s going.”"

"“I didn’t think anyone that came from where I came from would be listened to.”"

"To ensure that her work has a minimal impact on the environment Carolyn’s work involves the collection and reclamation of spent paint from painters – ranging from international artists to local contract painters. She removes the leftover paint from tins or cans and uses this paint to create her masterpieces such as Threshold and Transcodes featured in this Blog post. She even uses the hardened bits of nail varnish."

"“I have a friend who struggles financially, and I love the way it’s reflected in her tubes with every last drop squeezed out of them. Other tubes have remnants such as hairs trapped in paint that has oozed out of the tube and dried, or the smudged paint fingerprints where they have been squeezed.”"

"“I build layer upon layer and before I know it, it is 10 kg.”"

"“I have always had an interest in where things come from and where they’re going and in my works I focus on the intrinsic connection that paint has with land.”"

"“My art is underpinned by ongoing research into the impact of artists and their art making upon environment and a thought that I once came across, which is constantly on my mind, is that when you throw away there is no away.”"

"“No matter how depressing the environmental debate can become, creative thinking and action and shift it into positive territory and has the potential to precipitate and evolutionary leap that can benefit all.”"

"“In the beginning, I didn’t think my voice would be enough, or that anyone that came from where I came from would even be listened to.”"

"“Over the past few years I have collected spent and discarded paint from acclaimed international artists such as Marlene Dumas to local house painters where I live. I integrate this paint in works that, to me, are actual landscapes, because the paint was destined for landfill before becoming part of the artwork,”"

"“Often I find that artists have an attachment to their old paint tubes, Marlene Dumas for example kept her tubes since she was a student.”"

"My art is underpinned by ongoing research into the impact of artists and their art making upon environment."

"Over the past few years I have collected spent and discarded paint from acclaimed international artists such as Marlene Dumas to local house painters."

"I integrate this paint in works that can be considered as landscape due to the destiny of the paint as landfill before being reclaimed in an artwork. The weight of the paint informs the title of the works."

""As collaborators, we are interested in the dialogue that occurs between two artists and how this connection manifests – both as a competitive and a supportive force. We find that our work illustrates both of these qualities, and shows the bond that can come from knowing another’s work as well as your own. We approach our individual work in distinctive ways - one subjective and intimate, another cerebral and pragmatic. Together, these traits play off each other, forming a new space in which to create.”"

"“Art plays a significant role in the transformation of our country,”"

"“Exhibitions like this break down barriers and create linkages between us in the unique mix that is South Africa”."

"“A place of collective residential isolation, where the living environment becomes a site for production. The work that has come from this time deals with the act of conversation in an intimate environment and the physical realization of our online relationship on our website.""

"“As an artist, you’re always throwing away small amounts of paint, but when you add it up, you realise how substantial it is. The idea came to me after I’d completed a large installation. I had so much paint left at the end of it, that I realised the extent of the leftover paint – the weight and heaviness of it. So I decided to work with it.”"

"I followed my intuition and started to learn all kinds of art techniques to assist the patients by art therapy. Weaving I liked best. I felt very little satisfaction when following fixed patterns or working out of the themes that teachers provided me with. I could feel that was not my thing."

"“Maybe the greatest yearning of South Africans is to find a canvas on which to express themselves,”"

"Some of the ingredients in the pigment used in paint are poisonous and produce toxic waste during their manufacture. As environmental awareness increases many paint suppliers are improving their environmental credentials. However labelling can often be misleading."