JESSIE MOOY

Contents

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Jessie Mooy. BA(F.A.) HED.(Pret.) An artist who has specialized in ceramics since 1991. She now resides in France, but up to 2008 was based in Port Elizabeth, situated in the Eastern Cape province of South Africa. She is currently working in raku, earthenware as well as stoneware. Before 1991 she painted landscapes of the Eastern Cape in oils.

Telephone: +33 553 909 138
Mobile: +33 643 178 651

Address: Les Bidoux, 24600, Riberac, Dordogne, Aquitaine, France

ABOUT HER WORK:

THROUGH THE AGES OF PAST CIVILIZATIONS SHE WAS CALLED MOTHER GODDESS, ISIS, MARY, GAIA……………..

THE GIVERS OF NEW LIFE, RENEWAL, HEALING AND HOPE

FOR OUR ANCIENT MOTHER EARTH. SHE IS ALL WOMEN.

SHE IS MY WORK. – JESSIE.

1. How I interpret the female in my art:

The female in my art and nature as a whole are one concept

The image of woman functions as a counterforce to all forms of alienation in my art, especially alienation from nature and from the spiritual, by virtue of the fact that woman is depicted as a life-giving earth mother or as custodian of all life in nature. In my ceramic work my continued interest in the creative aspect of the earth, plants and all its creatures has always been evident, not only in the medium, but also in the formal variety e.g. vessels become flowers, handles and rims of vases become leaves etc.

In my more recent work I have made a series of sculptures where the female form subtly changes into parts of insects e.g. butterflies or moths or parts of flowers and plants. In some busts, the top of the shoulders changes into butterfly. The crackle in the glaze is caused by the raku technique and accentuates the delicate veins in the wings of the butterfly. Plant and animal forms on various parts of the sculptures accentuate the inter-relatedness of all things in the cosmos. The clay that the sculpture is made of is part of this earth and other heavenly bodies (stars). The eyes of these women are always very prominent and they look inwards, not outwards. These women become spiritual beings and seem to transcend the physical.

2. The influences which have shaped my work:

a. The study and observation of nature: plants, flowers, insects and all sorts of animals.

b. My interest in the female form, also as part of a vessel to express oneness with nature.

c. My ongoing interest and study of the ancient art of Egypt and Greece reflects all these above-mentioned interests. There is a beauty that transcends the temporary in the art of these cultures. I try to achieve the same timelessness.

d. My work at the S A Bureau of Heraldry where I worked as a Heraldic artist. Very bright colours ( esp. the earlier work )and stylised elements.

1. Reviews
2. Biography
3. Quotes

4. Curriculum Vitae - Jessie Mooy
4.1. Preferred medium
4.2. Education
4.3. Awards
4.4. Recent articles or books on the artist's work
4.5. Solo exhibitions
4.6. Group exhibitions
4.7. Public collections
4.8. Private collections
4.9. Commissions

5. Jessie Mooy's work
5.1. Ceramic sculptures:

5.1.1. Stoneware

5.1.2. Raku

5.1.3. Earthenware

5.2. Oils

5.3. Monotypes

Reviews

Cornelia le Roux, Die Burger, Eastern Cape, 29 November 2008

(on Jessie’s last one person show at 19 Hillbrow Place in Port Elizabeth, South Africa”

“On entering this exhibition, one is immediately confronted with the big ceramic sculpture African Earth Mother (terracotta) like a slim claystick at a dark pool, a big teardrop falling from her smooth clay cheek. These become tears of blood on her decorated cape. At the back of this sculpture there is graffiti from Homer: basically saying we are earth and earth is us. It is always this theme that is used again and again in her painting as well as in her ceramics. In her work Sisters (6 heads of different colour clay) now part of the permanent collection of the Nelson Mandela Metropolitan Art Museum, it is clear that she dreams of an ideal world, without conflict between nations: a world where we use our energy to look after the Earth and all its creatures”

Piet Hein, Amsterdam’s Dagblad 12 September 2005.

Expositie Stijfselmakersschuur, Oostzaan, Holland

“Deze rondreizende tentoonstelling was eerder te zien tijdens het jaarlijkse Grahamstown Art Festival in Zuid-Afrika. De werken geven bleik aan een hoge artistieke kwaliteit. In Oostzaan staat het werk van Jessie Mooy in het middelpunt. Het werk van Mooy is geinspireerd door de thematiek van de Vrede, de verdraagzaamheid tussen volkeren, de vrouw en de Fauna en Flora van Zuid-Afrika. Haar werk heeft dan ook een Internationaal karakter. Ze heeft inmiddels geexposeerd in Belgie, Nederland Spanje en Japan.Het werk van de Zusters (SISTERS) heeft een Internationale boodschap. Dit werk onderstreept en ondersteunt de principes van het werk van Het Internationale Vrouwen Bond voor Vrede en Vrijheid dat is gevestigd te Den Haag”

Pieter van Zyl, Die Burger, East Cape, 21 November 2002:

“Jessie Mooy’s Ceramic female sculptures have an air of exquisite fragility. The Nelson Mandela Metropolitan Museum has just bought another of her works: Metamorphosis I for its permanent collection. Mooy has been working since the previous millennium with the feminine aspect of God. In Chalice for a New Millennium she uses Egyptian Mythology to show the power of women. In this image according to an Egyptian Deity, she has the power of night and day pouring the stars out of her mouth and then catches them with her womb. This theme finds its way also in other ceramic works like: Un Mundo where the fragility of life is represented as a foetus inside a womb. Also in her paintings women are represented as custodians of nature and life in general.”

Kin Bentley, Eastern Province Herald, 12 March 1998 on Ad-Hoc exhibition by Eastern Cape Artists at Cuyler Gallery, Port Elizabeth

“Among the ceramics, Jessie Mooy’s Totem- like Ode to Eve is a monumental work celebrating the plight of women , nearly 2 metres high, this elongated terra cotta vessel, features female figures swirling in the firmament, the underglazed and glazed painting on here is reminiscent of the mystic works of William Blake. At the base in steep relief the different ages of women is recounted. As we look higher up the vessel, the figurines become spiritual beings with wings and at the highest point we only see stars in a night sky”

Renee Oliver, Eastern Province Herald 3 March 1995
Ceramic artist's works feted

PORT Elizabeth's Jessie Mooy is one of 10 ceramic artists in South Africa to have her work exhibited at the country's first international biannual display, in Johannesburg.
Mooy, a teacher at Lawson Brown, is a qualified sculptor and painter and began her career in ceramics just four years ago. Her unusual ceramic work was spotted in Johannesburg last year.

"It was after last year's exhibition that the organisers contacted me and asked me to display some of my work at the biannual. This is a great privilege because only 10 South Africans' works are on display, along with people from the whole of Africa, Europe, America and Britain."

Her most prominent work at the Africa Earthed exhibition is a majestic 1,8 metre high pillar cum candelabra called Ode to Eve. The massive structure, made in her Walmer studio during the December holidays, had to be fired in three stages.

"It's the biggest structure I've ever made. It has three parts - the base is made up of ceramic sculptures of nude women in all the stages of life - from puberty to pregnancy to death. The second phase is symbolic of the heavens and the spirit of women, and the third phase is abstract and in the shape of a woman's body. A large candle fits into the top of the structure symbolising the light which emanates from inside us."

Barry Ronge, Sunday Times Johannesburg, July 1993
(On the group exhibition "The Feminine Aspect of God" at the Grahamstown National Arts Festival)

Magic is a word so overtraded that it is almost risky to use it but the exhibition The Feminine Aspect of God is filled with an ancient vibrant magic that rises from the earth and moves to heaven through our intuitive spirit bodies.
...
Jessie Mooy's ceramics are sensuous and sacramental, filled with voluptuous natural forms, gilded and silvered and pulsating with ripe generative life.

Professor David Edwards, "The Return of the Repressed Feminine" published Dec. 1993 in The Phoenix, Vol. 6, No. 3, by the Albany Museum, Grahamstown, South Africa
(A talk given at the opening of the art exhibition "The search for the feminine aspect of God" in the Standard Bank Gallery of the 1820 Settlers Museum, Grahamstown, on 6 August 1993)

For James Hillman, the Archetypal Psychologist, images are the irreducible matrix of the human psyche. It is images which motivate our behaviour and programme the quality of our emotional and motivational life from moment to moment. What depth psychology has shown us is that these guiding images may often be deeply unconscious and that much of the alienation that people feel is due to an alienation from this source of creativity and authenticity.

In most traditional cultures the shaman is a person who learns how to venture into the unconscious to meet and engage with this imagery source (for example in the form of mythic stories or in the form of encounters with spirit guides and deities), and in so doing to bring back to the people of the culture perspectives on the powerful unconscious forces which are at the root of cultural life. The successful shaman therefore must shuttle between two worlds. In this sense an artist can be a shaman and I have no doubt that the artists whose material is discussed here are shamanistic in this sense that they have realised in their painting and ceramics powerful guiding images which are the root of important cultural processes that are underway at present.

All art has a personal dimension for the artist who is inevitably working out his or her personal struggles and dilemmas. But the personal dilemmas are always embedded in universal dilemmas; struggles which many people within a culture are engaging in and working out day by day. The first reaction of many people to this exhibition was a refreshing feeling of meeting something familiar yet somehow lost, of meeting something that speaks to them in a way that much contemporary art fails to do. I believe that the reason for this is because it has that sort of archetypal significance. It is spontaneous transpersonal art, which recovers a vision of womanhood which is generous, fertile, sensual and has a self-authenticating self-respect, constructive potency and spiritual dignity.
This exhibition is described as a search but it is more than a search, it is a finding and a recovery.
...
It is this kind of systematic brutality against an ancient spirituality that led to respect for the divine feminine becoming deeply repressed in the collective unconscious of our culture. Within Catholic Christianity some of the old traditions survived in the Veneration of Saints and the Virgin Mary. The Protestant revolution destroyed much of what remained of the ancient earth religions.

Why am I telling this long story? Because unless we understand it we will not understand the significance of this exhibition. Jessie's Black Madonna recalls an ancient European tradition of the Black Goddess. She is black not because she is African, nor because she is of the underworld or because she is evil, but because she is of the soil, because she is of the fertile earth, because she remembers that the bodily fertility of woman, in menstruation and child-bearing and milk-giving, is somehow energetically connected with the fertility of the earth. Ralph Metzner who has documented the history of the split between spirit and nature in European consciousness, and from whom I draw much of what I have said here, tells us that there are still six black Madonnas extant in European churches today. I find it moving that Jessie has made a black Madonna for South Africa.
Jessie is a remarkable woman. She is a committed Roman Catholic and comfortable within that tradition yet she is a spontaneous nature mystic within whose being these ancient images of divine woman come flooding in. Jessie describes her Forest Nymph as a Madonna too. Her contemplative eyes speak of a direct access to the sacred; her generous breasts speak of an unselfconscious fertility. Jessie's comfort with this juxtaposition of the Christian Madonna and the forest nymph remind us of the deep roots in an ancient spirituality of the Christmas story and the devotional appreciation of the mother and baby image.

Each of Jessie's ceramics has its own story. Nonquese's Dream is based on the story of a Xhosa girl in the last century who had a visionary experience of all of the people working in harmony with each other and with the land. On the one side of the vase she is pictured with her eyes glazed in a trance-like state experiencing the vision of humanity flourishing in a gentle land with rich harvests living in harmony with each other and the natural world. But the dream is not realised, the people fight. They fail to respect nature or to live in harmony with it. There is famine and destruction. Many people perish. On the other side of the vase we see Nonquese looking at this destruction and weeping out the pain and disappointment.
...
I believe that these works are drawn from a hidden wealth at the mysterious heart of the planet's historical unfolding. These artists have let that source speak to and through them. Through being here reflectively with these works perhaps we can let that source speak to us too and guide us to find our own place in the challenges that face all of us as potential planetary citizens in the last decade of the twentieth century.

Robert Brooks, National Ceramics Quarterly No.21, 31 August 1992
Eastern Province Institute of Architects Merit Award for Ceramic Art 1992

Jessie Mooy made a beautifully integrated work called Queen of Sheba's Reliquary (purchased by the Durban Art Museum in 1995). It was a true reliquary in that you could open it and find mysterious objects inside. Again a wonderful way to depart from the brief. The box is covered with images with green the base colour so there is lots to read and look at. The technique was quite strange in that glazes were "runny" but did not overrun their boundaries - it reminded me of a classic line from 'MacArthur’s Park" by Peter Webb as sung by Richard Harris "all that pale-green icing running down". This work drips beauty and good intentions and was as honest as the day was night.

Kin Bentley, Eastern Province Herald June 4 1998
Mooy exhibits at Cuyler St Gallery

The exhibition, at the Cuyler Street Gallery until June 13, consists of Port Elizabeth land- and cityscapes done in oils, pastels and monotypes, as well as oils exploring the history of the Great Zimbabwe ruins.

Dutch-born Mooy has had eight one-person shows in South Africa and has participated in 48 (now 55) group exhibitions, including the Cape Town Triennial.

Since 1997 she has set up a ceramic studio in Belgium where she makes raku sculptures for various galleries in Belgium, Holland and Germany.

She has worked on four public commissions since 1984, including five canvas panels for the J L B Smith Institute of Ichthyology in Grahamstown, 24 quilt designs for St Bernadette's Catholic Church, Walmer, and huge monotypes for Telkom's head office in Port Elizabeth.

Kin Bentley, Eastern Province Herald June 5 1998

Artist inspired and assured EXHIBITION of paintings, graphics and ceramics by Jessie Mooy (Cuyler Street Gallery):
FEW cities in South Africa have as intimate and visually exciting a built environment as Port Elizabeth. And Jessie Mooy explores its opportunities with an eye hungry to record unusual and unexpected vistas, helped along by an imagination which is able to transform what to us is an everyday scene into a timeless work of art.

The lower Baakens Valley is a key area for her, and in South End she exaggerates the height and gradient of its slopes to dramatic effect. The last remaining South End church forms a focal point. It stands atop a precipice below which stand row upon eerie row of high-rise buildings - more a symbol for the CBD than an exact representation.

Similar effects of perspective are achieved in another large oil, The Walk, which shows a girl and her dog walking along a path on the northern slope of the valley, across from that lonely church (obviously painted before South End became Legoland).

Another fine work, Settlers Park, captures the abundant vegetation of this green lung, seen - it would seem - from about the point where a high-rise apartment block has been erected in one of the city's most cynical and obtrusive developments yet.

Another splendid study of the city is The Quarry, a view of this landmark seen over that row of old terraced houses in Valley Road. The arrows created by the roofs of these buildings lead the eye upwards to the quarry, and thence to the assortment of buildings above.
A small pastel, View of Central from South End, is another amazingly good work, in more traditional mould. A large cactus occupies the foreground and behind it rises the skyline of the old CBD, with the Campanile and old Post Office tower prominent. This is a great piece of drawing - one of several in this medium on the exhibition.

Another splendid oil painting, this time a conventional landscape, is Kariega River, which shows a forest of euphorbias around a body of water, with the river meandering in the background. The Grahamstown Group for decades have used the euphorbia in dark, brooding compositions. How nice to see them painted here in light, bright colours which explore to the full their princely forms and interesting textures.

Her brushwork, whether painting broad areas like hills or fine details, is assured and inspired. This exhibition contains a wealth more of great merit.

Biography
Born in Amsterdam, Holland, Jessie Mooy moved to Pretoria, South Africa and later, in 1979, to Port Elizabeth in the Eastern Cape province. She studied at the University of Pretoria where she was awarded a BA Fine Art degree in 1970 and a Higher Education Diploma in 1972. She worked as an artist for the South African Bureau of Heraldry from 1970 to 1974. Since then she has taught at various schools and also privately.

For a number of years Jessie concentrated on landscape painting, but since 1991 has been working increasingly and successfully in ceramics. Her work is characterised by the vibrant use of colour and especially her later paintings by the unique portrayal of the Port Elizabeth land- and cityscape. She is excited by the sculptural quality of the landscape filled with plants - the landscape which dwarfs buildings, ruins and human figures. In Jessie's vision the temporary edifices built by human hands always seem to crumble into ruins or are represented in such a way that they become insignificant or fragile in the presence of an overpowering nature. Jessie's paintings often depict the landscape as being violated or wrecked by man, e.g. The Quarry where the mountain becomes a symbol of an open wound, a mutilated body without a heart. Her paintings also reflect an awareness of the tremendous growing force of plants which, shooting up irresistibly from the earth, in some of her works become such monstrous and menacing shapes that they threaten to devour the tiny human dwellings. The sense of alienation from nature that pervades these landscape paintings may be seen as establishing a link with Jessie's earlier work, especially with her "ecological" paintings.

The image of woman functions as a counterforce to all forms of alienation in her art, by virtue of the fact that woman is depicted as life-giving earth mother or as custodian of all life in nature. In her more recent ceramic work her continued interest in the creative aspect of the earth is evident, not only in the medium, but also in the formal variety and strength of her works.

Jessie has participated in numerous group and a number of solo exhibitions since 1980, including the Cape Town Triennial, a landscape exhibition at the Everard Read Gallery and the Feminine Aspect of God exhibition in Grahamstown in 1993. She is an invited member of the GAP group. She was invited to the International Africus exhibition The JOHANNESBURG BIENNALE in 1995, an exhibition of international contemporary art. Since 1995 she established a studio in Belgium and has since then exhibited in Belgium, The Netherlands, Spain and Japan.

Permanent collections in which her work is represented, include the Rhodes University Gallery, the Rhodes Ichthyology Department, the Durban Art Museum and the Northern Transvaal Regional Art Museum at Pietersburg, The Nelson Mandela Metropolitan Art Museum, The ABSA Bank Collection Johannesburg as well as the Cuyler Clinic collection in Uitenhage. Jessie has received no less than six awards for her work in ceramics, including the Corobrik Regional award (Eastern Cape) for best entry.

Quotes

"I paint what I see around me, emphasizing the eternity of nature against the mortality of man and the transitoriness of human structures."

Intuitive Woman - "Living in a world devoid of spiritual aspirations and where the importance of material interests is stressed, I believe that the female is the natural medium to invoke in order to guard the great mysteries of the unknown. She has to weave together the reality of our conscious life and the mystical, intuitive and divine part of ourselves which is an element of nature."

"My work is influenced by Heraldic, Byzantine and Greek art, as well as flowers and my early doll paintings of the eighties. In 1991 I returned to the medium of ceramics and became interested in the vessel as a sculptural shape integrated with figures, plants and flowers and animal life as well as freestanding structures. I use clay directly and spontaneously, integrating the decoration and relief work while the shape is built."

Curriculum Vitae - Jessie Mooy

Preferred medium
Ceramic sculpting. Also monotypes and oils

Education
BA Fine Arts and a Higher Education Diploma, University of Pretoria

Awards

1991	Corobrik Regional Award for ceramics
1991, 92	Goodwin's award for ceramics
1992	Corobrik Highly Commended Award
1992 1998 2003	Kenzan Highly Commended Award First National Bank Vita Craft Now Highly Commended Award Port Elizabeth Technikon’s “Something Exquisite” ceramic exhibition first prize

Recent articles or books on the artist's work

1988	The Dictionary of South African Painters and Sculptors, by Grania Ogilvy, published by Everard Read, p. 457
1992	National Ceramics Quarterly, Sept 1992, No. 21
1993	The Phoenix, Magazine of the Albany Museum, Dec 1993, Vol. 6, No. 3
1994	A selection of Eastern Cape Artists, by Helena Theron
1995	Insig, April 1995
1998	The Collector's Guide to Art and Artists in South Africa, Published by the South African Institute of Artists and Designers, p. 116

Solo Exhibitions

1983	E.P.S.F.A. (Eastern Province Society of Fine Art) Gallery, Port Elizabeth
1986	South African Association of Arts, North Gallery, Pretoria
1986	Potchefstroom Art Museum
1988	E.P.S.F.A. Gallery, Port Elizabeth
1988	South African Association of Arts, North Gallery, Pretoria
1992	Grahamstown Arts Festival Fringe
1997 1998 1999 2000 2001 2003 2004	The Cape Gallery, Cape Town Cuyler Gallery, Port Elizabeth Galerij Excelmans, Maaseik, Belgium Gallerie de Witte Arend, Utrecht, Holland The Cape Gallery, Cape Town The Cape Gallery, Cape Town The Cape Gallery, Cape Town

2004 2006 2008	19 Hillbrow Place Gallery, Port Elizabeth 19 Hillbrow Place Gallery, Port Elizabeth 19 Hillbrow Place Gallery, Port Elizabeth

Group exhibitions

1982, 83, 84, 86, 87, 88, 89, 90, 91, 92, 93, 94	E.P.S.F.A. Annual Exhibition, King George VI Art Gallery, Port Elizabeth
1984	"Fish in Art" exhibition, Rhodes University, Grahamstown Arts Festival
1985	Wildlife Artists of the World, Everard Read Gallery, Johannesburg
1987	Anne Bryant Gallery, East London
1988	Miniature Exhibition, E.P.S.F.A., Port Elizabeth
1988	Art and Photography Exhibition, E.P.S.F.A., Port Elizabeth
1988	CAPE TOWN TRIENNIAL NATIONAL EXHIBITION OF SELECTED ART
1989	Landscape Exhibition, Everard Read Gallery, Johannesburg
1989, 90, 91, 94	G.A.P. (Rhodes University, University of Fort Hare and Port Elizabeth Technikon) Group Exhibition, King George VI Art Gallery, Port Elizabeth
1992	G.A.P. Group Exhibition, King George VI Art Gallery, Port Elizabeth, University of South Africa, Pretoria, Kimberley, Bloemfontein
1993	G.A.P. Group Exhibition, King George VI Art Gallery, Port Elizabeth, Sanlam Centre, Cape Town
1991, 92	Association of Potters of South Africa (East Cape), King George VI Art Gallery, Port Elizabeth
1992	A.P.S.A. Nationals, Pretoria Art Museum
1992	The Eastern Cape Landscape, Albany Museum, Grahamstown
1993	The Feminine Aspect of God, St. Patrick's Church Hall, Grahamstown, Standard Bank Gallery, Albany Museum, Grahamstown
1994	The Feminine Aspect of God, Gallery on Tyrone, Johannesburg
1994	SOUTH AFRICAN CERAMICS FESTIVAL, HONG KONG
1994	Women's Images of Men, Durban Art Museum, National exhibition of invited artists
1995	Ceramics '95, Durbanville Cultural Society. National exhibition of invited artists
1995	JOHANNESBURG BIENNALE. An exhibition of international contemporary art
1995	Cuyler Gallery Sculpture Festival, Port Elizabeth
1995	History of Clay in the Eastern Cape, Albany Museum, Grahamstown. Exhibition of invited artists - GRAHAMSTOWN FESTIVAL
1996	"Fish and People" exhibition, Department of Ichthyology, Rhodes University, GRAHAMSTOWN FESTIVAL
1996	"People, Places and Perspectives" national touring exhibition curated by the Port Elizabeth Art Museum
1997	Ceramics for Collectors, Gallery on Tyrone, Rosebank, Johannesburg
1997	ABSA Bank exhibition of selected Eastern Cape art, ABSA Bank, Johannesburg
1997, 98, 99	AD HOC GROUP SCULPTURE EXHIBITION, Cuyler Gallery, Port Elizabeth
1997 to 2002	GALLERIJ EXELMANS, Maaseik, Belgium
1997	Gallery Rive Gauche, Maastricht, Netherlands
1997, 98, 99	Gallerie J Van Den Elshout, Den Haag, Netherlands
1998 to 2002	AD HOC exhibition, Cuyler Gallery, Port Elizabeth
1998	First National Bank Vita Craft Now Regional Exhibition, King George VI Art Gallery, Port Elizabeth
1998	First National Bank Vita Craft Now National Exhibition, The Castle, Cape Town
1998, 99, 2001, 02	Gallerÿ Demi Jour, Amsterdam, Netherlands
1998, 99 1999, 2004	Gallery De Boog, Ysselstein, Netherlands Galerie Demi-Jour,AMSTERDAM, Muiden Holland
2002	Figurines, De Potterij Galerie “Het Oude Dorp”, Amsterveen, Amsterdam, Netherlands
2002 2004 2004 2005 2005	Fauna and Flora, Cuyler Gallery, Port Elizabeth “Changes” exhibition, Nelson Mandela Metropolitan Art Museum. PE. “The Potters of Madiba Bay” Grahamnstown Arts Festival, curated by the Nelson Mandela Art Museum Holland Tour exhibition of works by “The potters of Madiba Bay” curated by the Department of Cultural Affairs, Holland and The Nelson Mandela Metropolitan Art Museum. "Celebration of Life" Montage Gallery, Walmer, Port Elizabeth

Public collections
Durban Art Museum
Northern Transvaal Regional Art Museum, Pietersburg
Nelson Mandela Metropolitan Art Museum, Port Elizabeth
Rhodes University, Grahamstown
Cuyler Clinic, Uitenhage
ABSA Bank, Johannesburg
Telkom Head Office, Port Elizabeth

Private collections
Both locally and overseas - London; Amsterdam Utrecht, Netherlands; Maaseik, Belgium; Sydney; Hong Kong; New York; Marbella Mallorca, Spain; Portugal; Germany

Commissions

1984	Life Cycle of the Fish, JLB Smith Institute of Ichthyology, Grahamstown (five canvasses)
1993	24 panels for St. Bernadette's Catholic Church, Port Elizabeth
1996	Huge "Satellite Dish and Earth" monotype, Telkom Head Office, Port Elizabeth
1997	"Windows" monotype, Telkom Head Office, Port Elizabeth