The focus of this exhibition is on the community of plants in the uMngeni Beachwood Mangroves Estuary. It emerges from my doctoral study in Fine Arts following a Practice-Led research approach. As a resident artist of the area surrounding the estuary, I felt compelled to explore and respond to the current ecological realities of this estuary. The global context of environmental degradation and climate change exacerbate my concerns over pollution, rising sea levels, the influx of alien vegetation, floods. In addition, a commercial development  (hotel and homes), positioned on the northern part of the estuary floodplain, will further compound the vulnerability of this estuary.

My experiences and collections of estuary plants are translated into artworks, reflecting these realities, negative (pollution) and positive (reparation). A few of the negative aspects shown are incorporations of carbon ink, chemical-based textiles and glue. The Mangrove trees are the foundation and strength of this community, interconnected with all estuary life. Pollination, seed dispersals, communication between the plants, weed communities, nurseries for fish and crustations, are part of this interconnectivity. These discoveries manifest through translations into artworks.

My art processes are led by intuition, where I press, print, preserve, paste, crumble, ink, stain, construct, embroider, applique and collage. The influences of Sumi-e processes (Japanese ink painting) and my working life in fashion and textiles led to the somatic evolvement of the cloak body, and the ceremonial chairs. The book titled One Hundred Traces, presents an overview of all my experiences and processes for this body of artworks. The artworks are an expression of degradation and nature’s capacity for repair, offering portals into the vulnerability and value of this estuary.