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See Emily play (2013)

Photomontage on sticker paper, the recontextualised text publication, The suffering of war (2003), including interactive textual components by viewer-participants at Emily Hobhouse Square and other Bloemfontein public spaces; black stand with pencil.

In 2010, I was messaged to randomly open a page in the booklet, entitled En die mens weef. I had to read the first sentence coming into view. In this forgotten treasure I have read: "After the war, Emily Hobhouse initiated weaving schools to alleviate poor women. Because dyes were too expensive to import, she experimented with pigments deriving from local plants."

Intuitively I clicked that Hobhouse was a painter! Although she is a renowned welfare campaigner, she is a forgotten figure in the arts and crafts/ community service domain. In her famous speech for the unveiling of the Woman's Memorial, a weaving metaphor articulates that the memories of the dead are 'woven into the stuff' of woman lives, rather than in sepulchers. The dead are intertwined into the people's mental make-up. She distinguished between the ‘patriots' living in the land and the parasites, living off the land. After the war she firmly stood against white supremacy. My artwork resists ongoing catastrophic games and the shattering pain caused by negative ideologies. Texts and weaving have the shared Latin root word, texere; insight emanates through the interweaving of fragments. This urged the teasing apart and reweaving of historic texts and images of violence. The 2003 photographic catalogue, The suffering of war, gave me the opportunity to struggle with both war photographs and texts via alternative 'weaving' processes. Metaphorically the camera's light blinds viewers to the ‘black light' of negative ideologies and the production of universal images binding centuries of brutality.

See Emily play originates from a creative play against power mongering capitalist gamesters and the cascading hyper-violence resulting from it. It is the painter's serious play of texts. The painter is a brusher, inspired by both Hobhouse and weaving. Through telam texera et retexera, doing and undoing, the painter brushes apart and remediates. Viewer –participants are can assist in the rewriting of texts and images. Violent acts are indeterminate phenomena and negative creations. But sadly, the majority of whites did not respond too it. Hobhouse's speech is against destructive ideologies and a moral marker in South African history... The voting public chose against the morally right, thus allowing violence and a gun culture to be further engrained, abetting to a foundation for apartheid. This in turn transformed 'the stage of war' into a platform for post-apartheid hyper-violence and the violation of women and children's rights.

Thresholds: Analogue and digital interactivity, Performance and conceptual photography, Myths, poems and narratives, Violence