The Noonoo Index | An artists' book by Lunetta Bartz in collaboration with Mark Rautenbach

The Noonoo Index

The Noonoo Index

I’m realising this work investigates/examines/tries to define the point at which

something changes state. When matter becomes art material and when that material becomes art. Mark Rautenbach

A project initiated, designed and produced by Lunetta Bartz, MAKER, Johannesburg 2018 Assisted by Lucia Duncan and Sam Nyalungu All the Noonoos in this index were created by Mark Rautenbach between 2003 and 2017 Final ‘binding’ of this edition by Mark Rautenbach This artists’ book is in an edition of 11 plus 1 artist’s proof and 1 workshop proof 5 copies are stored in the five South African National Libraries. ISBN number 978-0-620-79668-2

Digital version designed and produced by Lunetta Bartz, MAKER, Johannesburg 2020

CONTENTS Noonoo Ancestry 2003—2017 Glossary by Mark Rautenbach The Noonoos, an essay Betti Marenko Offloading your waste need not be painful, Cape Times article by Mary Corrigall 84 individually documented and indexed Noonoo cards divided into 11 sections Additional Images Making of The Noonoo Index LB: If we use recycled – do we know which works they [the Noonoos’] were used for in the future–is it here where the term ‘Incarnation’ speaks of the future? Maybe we need to also include ‘Ancestor’ to speak of their [the Noonoos’] past?

MR: Both recycled and ancestor apply. We know where the recycled material comes from and what it became. Maybe its better to use ‘Incarnation’ and ‘Ancestry’ with regard to material that was an artwork. I’m beginning to want to take the word recycled out altogether. Once an artwork is made it incarnates. If it rests, or is used [some times intact] in another work, it reincarnates. Reincarnation can be really subtle; like being viewed from another way, or having a title charge. And sometimes it can be really dramatic, like the previous state or form is unrecognisable.

Noonoo Ancestry 2003—2017

Glossary by Mark Rautenbach

“Act out” through “stuff” For a year I didn’t throw anything away, doing so was a way of holding myself accountable for all the consequences of my being. I recycled all that I could and made compost with all organic matter. What I found was that there were remnants, which needed to be discarded but could not be composted or recycled. This became the raw material for the Noonoos. I bound this matter up in coloured thread, allowing form to emerge, rather than willing it. I find the action of binding to be soothing, cocooning and pulling together, pulling myself together.

Ancestry A previous constructed art[work] identity.

Artist’s collection The artwork is still intact i.e. as it is in its final manifestation or here, its ‘incarnation’.

Babas The term Babas (plural) because the Noonoos are cute and small, like babies.

Blokkie I would regularly find discarded pieces of timber, often at building sites. I found these blocks of wood, which were roughly the size of a brick, very attractive. For me they embodied the tension between being discarded yet pregnant with potential. I think at this stage of my life I was a bit at odds with the subject matter in my work, finding things too literal. The blocks represent a kind of creative block. I covered the surfaces with collections of paper I had; a juxtaposition of religious text and pinup calendar pictures that someone had given to me. The processes were ritualistic and followed strict almost superstitious procedures. The procedures and objects became embodiments of prayer and thanksgiving.

Blokkie Relics In this process six Blokkies were used. All the faces of each block were cut off. This left a block of wood behind. The 6 sides of this wooden block were then systematically cut away until a small block remained, forming the sides of several new boxes.

These boxes all fit into one another like a babushka. Later these boxes were burnt and their ashes were used for new works. The faces of the original Blokkies were used as ‘relics’ in later works.

Incarnation A future constructed art[work] identity.

Inorganic Cannot be composted.

Found Un-owned. Discarded items I claimed from public places.

Gifted Given to me.

Matter Matter is the bigger set. I am almost superstitious about matter. Things, objects, clothing hold so much symbolism, meaning and memory for me. By processing these things I process the ‘matter’ surrounding the matter, the relationships the object relates to. It contains material which although might be waste, could also be useful. It has potential, like clay. It is non-specific or generic. I use the word matter because of its ambiguity; actual stuff and psychologically—what’s the matter? For me the words ‘matter’ and ‘material’ are interchangeable. I prefer matter as it relates to ‘what’s the matter’. It is a term, which is both form and content. Other sources of matter for me are: shops, recycle bins, found, gifted, disassembled artworks and detritus from art making.

Merkaba Light body. The body produced by/through our internal/meta energy system [chakras], which enables us/humans to travel inter-dimensionally.

Non-recyclable inorganic matter This is matter that doesn’t fit into any of the recycle bins and also cannot be composted. It is matter I cannot get rid of. It’s the stuff that would end up in the landfill. This matter came to represent parts of my character [characterdefects] that I would like to get rid of, but no matter what I do am unable to. Things like jealousy, putting people down, needing an enemy. It’s the matter as in ‘what’s the matter’.

It’s the matter that needs some kind of alchemical process in order to make it workable.

Art-making both represents and is this process.

Noonoo The name Noonoo is an affectionate South African term for an undefined creature.

Noonoos were initially made from matter that could not be composted, nor recycled i.e. “stuff” that could not be put into either the recycle bins or the compost bin. Later Noonoos included recyclable matter i.e. “stuff” that could be put into recycle bins.

Number of theories New Age Voodooesque theories: 1) Flower of Life; multidimensional universal transformation, 2) End of Mayan Calendar, there were another 2 or 3, but I forget! They functioned as doomsday type prophecies, which had a strong influence on my life. I had been living under that cloud for about 12—14 years. This steered much of my thinking.

[Post]traumaticstress [Post]traumaticstress points at a place beyond [after] trauma and stress, the place of arrival after process.

Processing Making art.

Resting No longer on display, hidden, taken into the underground, waiting to be incarnated. The work is deconstructed into its various components, disassembled. In a sense it become raw material from which new work is made.

Ritualistic objects Objects for me that hold symbolism and meaning which are used or rearranged according to things I act out. The rituals may be as functional as objects used in brushing of teeth, or as arcane as the aesthetic placing of objects in a space because they just have to be there; ‘energetically’/aesthetically. Objects I need to navigate in may personal space because they activate my space.

Studio-detritus Detritus is material that needs to get thrown away. Studio-detritus is the leftover material from specific artworks. If I were to use the analogy of bread making this matter becomes like the ‘mother dough’ from which the next artwork is made. The studio-detritus holds the charge of art making. It has been alchemised, and thus ignites/ charges/activates the matter it is mixed into.

Yantra is a drawn geometric form of a mantra. A mantra is a sound. I understand these Vedic devices to be embodiments of an abstract form, like a primary building block of the cosmos. The Blokkies became embellished. They became dressed up in a variety of outfits that expressed their various personalities and characters. There is an erotic, fetish, tantric texture to things [them].

Yarn is an absurdist pun on narrative, the stories I make up and believe in.

The Noonoos, an essay Betti Marenko

1. Secret These objects—the Noonoos—appear to enclose a secret: the artist’s tireless repetitive gestures, the wrapping and encasing and swaddling that have created them in the first place, their growing out of accidental detritus forever unknown to the observer, and yet, yet so vividly present, beaming like an unidentified warning system. I can hear a call pulsating from within them. A secret. Like a wave slowly yet deliberately spreading out.

To ask what is inside the Noonoos is to be trapped by a deliciously perverse bait, a sort of enchanted decoy. The real secret is not their unknown content, but what keeps on emanating from their core—as if the Noonoos’ origins, their birth time when matter folded and folded and folded again upon matter, had been absorbed into a pure core of energy only to be released steadily, breathed in and out in time with the lunar phases; as if the matter they are made of, those sediments in slow transmutation, keep on irradiating throughout their environment, merging with the world, and changing the world along with their own internal alteration. “The secret has a way of spreading that is in turn shrouded in secrecy. The secret as secretion”,

tell us Gilles Deleuze and Félix Guattari.1 This slow release is how the Noonoos disrupt the linearity of Chronos, the flattened route from the past into the future via the present that constitutes our dominant time. Instead, they express (and obey to) Aion—the eternal, cyclical time, “the past-future, which in an infinite subdivision of the abstract moment endlessly decomposes itself in both directions at once and forever sidesteps the present”.2 2. Repetition

The Noonoos are shamanic operators. The hand that obsessively engages in their making with assiduity and repetition is the hand of the sorcerer. His relentless dedication, obsessively pushing and enduring to the edge of chaos, pushing the body to the brink of collapse, is also what brings the unformed chaos back in, to work alongside found matter and to spin it beyond its 1 Gilles Deleuze and Félix Guattari. 1988. A Thousand Plateaus. Capitalism and Schizophrenia. London: Continuum. p. 316 2 Gilles Deleuze. 2004. The Logic of Sense. London: Continuum. p. 89

accidental nature. Chaos is also what drives the artist’s own internal force to the point of non-return where a new sidereal balance can be reached, through tears and blazes of fire. The lagoon beyond the precipice. The incessant repetition is what lets the chaos in, to weave its magic upon the uncountable threads, the myriad of yarns patiently spinning round and round the given visible world and enclosing it in colours and sighs. The incessant repetition is what produces the shift in planetary alignments. The incessant repetition is how the sorcerer operates. The incessant repetition is what creates a new reality, a new here-now. Never have Deleuze’s words sounded more appropriate: “We produce something new only on condition that we repeat”.3

3. Sense

Anthropologist Claude Levi-Strauss reminds us that the universe has a meaning way before humans know what that meaning is.4 This creates a fundamental hiatus between symbolism and knowledge. Put differently, there is always more world than our human capacity to describe it, render it, and conceptualize it. This gap 3 Gilles Deleuze. 1994. Difference and Repetition. London: The Athlone Press. p.90 4 Claude Lévi-Strauss.1987. Introduction to the Work of Marcel Mauss. London: Routledge

between the world (signifier) and its sense (signified) is what Lévi-Strauss notably calls the floating signifier: an energy or a force that resists coding and that can therefore be interpreted in vague, ambiguous, and elusive ways. The absence of direct signification confers an extraordinary power to the floating signifier. This power is clearly manifest in liminal objects, discarded items, residual matter at the boundary between the living and the nonliving, the animated and the inanimate, the inside and the outside of the body. This is why nails, teeth, blood, semen, sweat, shed skins, hair, bones and cast-off junk are found abundantly in the performative operations of shamans, sorcerers and soothsayers. Border objects are more likely to be channelling the floating signifier, to embody a multiplicity of discordant meanings, to collect within them a multitude of nocturnal whispers. “The residue becomes the practical operator during a rite, a connecting lever between a number of energy apparatuses, as well as the store of memories of meaning and experience used by the person officiating”.5 Likewise, the Noonoos express the recalcitrance inherent in phenomena at the fringes of what is known, at the boundaries of what 5 José Gil. 1998. Metamorphoses of the body. Minneapolis and London: University of Minnesota Press, p.102

is firmly established. They convey a kind of unsettling disturbance, the semantic confusion that emerges when things cannot be pinned down, named and indexed; when the univocity of coding is disrupted by invisible forces, and another type of knowledge is prompted forward. The knowledge that we know we do not know— unknown knowledge, knowledge of the unknown. The knowledge that can only be conjured via divinatory practices.

4. Divination

Divination presupposes a knowledge hidden in signs, a knowledge that cannot be known but only recognised, read in ephemeral events such as the flight of birds or traces like the shape and density of animals’ interiors—portentous signs, occurrences that are only apparently random, that need interpretation, but most of all the ability to tune in. Divination is the fortuitous causality—‘this means that… ’—and the diviner knows only one thing, that there is something s/he does not know, a knowledge s/he does not own but can only be evoked, conjured from bits of matter, molecules of mud, fragments of chanting.6 Thus, the accidental make-up of each of these Noonoos enables them to acquire oracular properties. The Noonoo 6 Giorgio Agamben. 2015. Gusto. Macerata: Quodlibet

becomes a prophetical entity, a container of unknown knowledge whose fragments cannot be otherwise grasped, certainly not through rational thought. As such, the Noonoo both puzzles us with its reticence (what does it mean?) and yet—once we drop our guard and our ambition to understand it by giving a name, by ‘explaining’ it, once we let our feelers take over—it opens up to reveal the imperceptible trails left by the passage of the unseen on our bodies. This is why when you observe the Noonoos, and the questions arise: Who knows? Who knows what they contain? Who knows how they came to be? Who knows what they are made of ?—the answer is to surrender to the non-rational, to relinquish your personal name and all the names you wish to attribute, to give in to the impersonal and its liberatory wind.

5. Impersonal

Italian philosopher Giorgio Agamben writes that for the ancient Romans Genius was the name of the divinity that becomes our guardian at the moment of our birth.7 This presence is testified by the linguistic proximity of genius to the verb ‘generate’ and the word ‘genial’- genial is someone who is able to respond with no hesitation to the genius that has generated them. That is why we must learn to honour the 7 Giorgio Agamben. 2007. Profanations. New York: Zone Books

very special relationship we have with our personal Genius. The more intimate this divinity, the more impersonal it will be, insofar as it represents what, in ourselves, exceeds our sense of self, our own identity, our own proper name. In other words, the Genius is the impersonal within us, what traverses us (yes, like a wind) and yet it can never be identified with that thing I call ‘me’. It is the force that keeps us alive (what do you think pushes the blood in your veins?).

So, beyond the ingrained vassalage to rational thought, beyond the equivalence between ego and conscience, we must celebrate the ineffable Genius presiding over the indiscernible zones of the unknown lodged within us. “This intimacy with a zone of nonconsciousness is an everyday mystical practice, in which the ego, in a sort of special, joyous esoterism, looks on with a smile at its own undoing and, whether it’s a matter of digesting food or illuminating the mind, testifies incredulously to its own incessant dissolution and disappearance.”8 A word of caution. Nothing could be further from these zone of nonconsciousness than a private, petty, puny unconscious begging to be discovered, analysed and decoded.

Instead, where Genius dwells, the orchard and the storm, the shadow and the light, 8 Giorgio Agamben. 2007. Profanations. New York: Zone Books. p.12

the nebula and the spider, these are the zones where unexplored potential stirs, where the blue flames that are set to burn are not felt just yet, and nonetheless already exist, where white fire pierces through the tangible and moulds the future with its heat. It is the presence of Genius that ensures that we can grasp a connection with the flow of divinity that traverses us and, even, occasionally, that make us turn this perception into something we can touch, caress, and live with.

6. Animacy

Yes, because the Noonoos are living creatures. Their matter seems to exist in suspended animation, and yet keeps on pulsating. Like bewitching black holes, they first suck in their vortex the detritus of a finite time-space, only to release it, slowly, quietly, unassumingly, at their own pace. They are living creatures, silently reverberating of a light born out of that cosmic dust they enclose within themselves.

Here’s to the haunted glow of an unknown kernel that keeps on giving, discharging its molecular presence into the universe. Here’s to the luminous compound of stardust illuminating the corners of this shadow-world. Here’s to the quiet heartbeat that lulls me to sleep.

London, January 2018

Offloading your waste need not be painful, Cape Times article by Mary Corrigall

2003—2008 001 to 005

2003—2008 001 Blokkies/[Nkosi Mama/Prayers to Goddess]

Found timber, calendar images on paper, polyester thread, text on paper, acrylic paint, gold leaf, found corrugated cardboard Various: 4 x 8 x 4cm, 8 x 16 x 8cm, 16 x 16 x 8cm 2003 Notes: I walk around a lot and, in so doing, get to see and collect objects and ideas that influence my work. I would regularly find discarded pieces of timber, often at building sites. I found these blocks of wood, which were roughly the size of a brick, very attractive. They embodied the tension between being discarded yet pregnant with potential.

I think at this stage of my life I was a bit at odds with the subject matter in my work, finding things too literal. The blocks represent a kind of creative block. I covered the surfaces with collections of paper I had; a juxtaposition of religious text and pinup calendar pictures that someone had given to me. The processes were ritualistic and followed strict almost superstitious procedures. The procedures and objects became embodiments of prayer and thanksgiving.

A total of 44 were made.

Exhibited: Africa Nova Collection: Of the 44 works 9 were unsold and reincarnated Incarnations: 002, 003, 004, 005, 006, 007, 008, 011, 017, 037, 038, 039, 041, 052, 056, 059, 060, 064, 067, 079 Image: None

2003—2008 002 Return of the Yantras

Found timber, collected images on paper, polyester thread, text on paper, acrylic paint, gold leaf, seeds, vinyl, glitter, staples, buckles, felt, bottle of perfume, prayer beads, religious text, sequins, leather, brass tacks, reincarnated Blokkies Various: 4 x 8 x 4cm, 8 x 16 x 8 cm, 16 x 16 x 8cm 2004—2005 Notes: The Blokkies became embellished, dressed up in a variety of outfits, which expressed their various personalities and characters. There is an erotic, fetishistic, tantric quality to these creations.

A total of 12 were made.

Exhibited: Africa Nova Collection: Joaquim Almeida, Tiziana Giardini, Annette Hoekstra, Dennis Dyas and the remainder were reincarnated Incarnations: 003, 017, 065 Ancestry: 001 Image: Artist

2003—2008 003 Red Consort

Found timber, paper, brass tacks, vinyl, seeds, buckles, leather, metal leaf, acrylic paint, collected images on paper 50 x 50cm, includes a Yantra 8 x 16 x 16 x 8cm 2006 Notes: At the time of creating this work I was delving into Tibetan Buddhism and pushing the limits of craft techniques. I was also exploring animism and fetish in a religious sense.

Exhibited: Collection: Incarnations: Ancestry: Image:

Introducing Splendid - Omega Light and Living Manuela Gray None 002, 001 Amronski * also see ADDITIONAL IMAGES

2003—2008 004 Blokkie Relics

Sawn off face of a Blokkie, found timber, collected/archival/calendar images on paper, text on paper, acrylic paint Various: 2 x 3 x 1cm, 3 x 6 x 1cm, 3 x 8 x 1cm, 9 x 14 x 1cm, 8 x 16 x 1cm 2007 Notes: In this process six Blokkies were used. All six faces of each block were cut off. This left a block of wood behind.

The 6 sides of this wooden block were then systematically cut away until a small block remained, forming the sides of several new boxes. These boxes all fit into one another like a babushka. Later these boxes were burnt and their ashes were used for new works. The faces of the original Blokkies were used as ‘relics’ in later works.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited All these works reincarnated 005, 006, 007, 008, 011, 017, 037, 038, 041, 052, 056, 060 001 Artist

2003—2008 005 Buddha Landscape

Board, acrylic paint, collage, Blokkie Relics, polyester thread 30 x 130cm 2008 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Vanessa Thompson None 004, 001 Artist

EARLY MUSIC / EARLY RECOVERY 006 to 016

EARLY MUSIC / EARLY RECOVERY 006 Noonoo Babas

Series: Early Music/Early Recovery Torn painted canvas, Blokkie Relics, polyester thread, cotton fabric, found images on paper, acrylic paint, metal leaf, grouting paste made from ash of burnt Blokkie innards mixed with wood glue Various: 3 x 14 x 3cm, 6 x 8 x 6cm, 8 x 6 x 4cm, 15 x 15 x 8cm, 20 x 15 x 15cm 2009—2010 Notes: Destruction has always been part of my creative process, something I inherited from my father. I had gone through a phase of making paintings on canvas which I tore into small pieces. I then started stacking these pieces and they, in turn, began to morph into Blokkies. It felt like I was making my own material, my own clay. The canvas Blokkies exhibited stronger individual personalities, and became known as the Noonoo Babas. I applied Blokkie Relics to the Noonoos by cementing them with a mixture of ash from the burnt inside of the Blokkies and glue.

Again all procedures followed a meticulous ritualistic order. The name Noonoo is an affectionate South African term for an undefined creature and Babas because they were cute and small like babies.

A total of 7 were made.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Gustavo Fijalkow 007, 037 004, 001 Artist * also see ADDITIONAL IMAGES

EARLY MUSIC / EARLY RECOVERY 007 MingMahn/Psychic TV

Series: Early Music/Early Recovery Torn painted canvas, two Blokkie Relics, polyester thread, cotton fabric, found images on paper, acrylic paint, metal leaf, grouting paste made from ash of burnt Blokkie innards mixed with wood glue, corrugated cardboard 20 x 15 x 15cm each, base 23 x 37 x 20cm 2009—2010 Notes: These two creations are the ‘grandma’ and ‘grandpa’ Noonoos. They are ancient, primal ancestors.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Tiziana Giardini None 006, 004, 001 Artist

EARLY MUSIC / EARLY RECOVERY 008 Post Romanticism

Series: Early Music/Early Recovery Board, acrylic, Blokkie Relics, tissue paper 139 x 94cm 2009—2010 Notes: A self-proclaimed romance addict; with this work I processed a romance, which brought me to my knees and turned out to be my last.

Exhibited: Collection: Incarnations: Ancestry: Image:

Haas reincarnated 056 004, 001 Artist

EARLY MUSIC / EARLY RECOVERY 009 Bride stripped bare [Even the Bride] I Series: Early Music/Early Recovery All materials were gifts from ex-lovers; shirts, love letters, book, detritus from art making, dress making pins, bell jar, wing nut, polyester thread Installation dimensions variable: approx. 146 x 35 x 35cm 2009—2010 Notes: I am almost superstitious about matter. Things, objects, clothing hold so much symbolism, meaning and memory for me. By processing these things I process the ‘matter’ surrounding the matter, the relationships the object relates to.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited reincarnated 035, 044, 045, 058 None Artist

EARLY MUSIC / EARLY RECOVERY 010 Proto Noonoos

Non-recyclable inorganic matter, polyester thread Various: from the size of a pea to 2 x 3 x 1cm to 4 x 6 x 20cm, 8, 11 x 17cm, 6 x 5,5 x 5,5cm and 5 x 7,5 x 4cm 2010 Notes: I had a breakdown and felt compelled to take a serious look at my life and my behaviour. As I have a tendency to act out through “stuff” I decided to do an experiment: for a year I didn’t throw anything away. Doing so was a way of holding myself accountable for all the consequences of my being. I recycled all that I could and made compost with all organic matter. What I found was that there were remnants, which needed to be discarded but could not be composted nor recycled. This became the raw material for the Noonoos. I bound this matter up in coloured thread, allowing form to emerge, rather than willing it. I find the action of binding to be soothing, cocooning and pulling together, pulling myself together. I made hundreds of these Proto Noonoos.

Exhibited: Not exhibited Collection: 4 of these works are in collections: Jane Rautenbach (010A), Daniella, Vassi Konstandakilis and

Thomas Rebok’s daughter (010B), Betti Marenko (010C) and Paul Rautenbach. The remainder were reincarnated Incarnations: 012, 014, 015, 016, 017, 018, 019, 020, 021, 022, 023, 024, 025, 026, 027, 028, 029, 030, 031, 037, 040, 041, 043, 044, 046,047,048,049,050,051,052, 053, 054, 055, 057, 060, 061, 064, 078 Ancestry: None Image: Artist

EARLY MUSIC / EARLY RECOVERY 010A Whale and a Heart Series: [Post]traumaticstressdisorder/Proto Noonoos Non-recyclable inorganic matter, polyester thread, pins 2 x 6 x 1cm and 4 x 3 x 2cm 2010 Exhibited: Collection: Image:

Not exhibited Jane Rautenbach Jane Rautenbach

EARLY MUSIC / EARLY RECOVERY 010B The Owl and The Pussy Cat Series: [Post]traumaticstressdisorder/Proto Noonoos Non-recyclable inorganic matter, polyester thread, metal leaf, pins 6 x 5,5 x 5,5cm and 5 x 7,5 x 4cm 2010 Notes: These Noonoos were delivered in a boat made from a folded sheet of A4 paper with the poem, The Owl and the Pussycat by Edward Lear (1812-1888), hand written on it.

Exhibited: Collection: Image:

Not exhibited Gift for Daniella, Vassi Konstandakilis and Thomas Rebok’s daughter at her birth Thomas Rebok

EARLY MUSIC / EARLY RECOVERY 010C Betti Noonoos Series: [Post]traumaticstressdisorder/Proto Noonoos Non-recyclable inorganic matter, polyester thread, metal leaf, pins 14 x 19 x 14cm, 7 x 10 x 7cm and 3 x 6 x 2cm 2010 Exhibited: Collection: Image:

Not exhibited Betti Marenko Betti Marenko * also see ADDITIONAL IMAGES

EARLY MUSIC / EARLY RECOVERY 011 Waltzing Gustavo [at the Twin Sisters Ball]

Series: Early Music/Early Recovery Canvas, non-recyclable inorganic matter, found wood, found necklace, found mirror, paper, acrylic paint, metal leaf, gentian violet, found glass, Blokkie Relics, pins, polyester thread, wine bottle lid, incense stick ends 60 x 180cm 2009—2010 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 035, 044 004, 001 Artist

EARLY MUSIC / EARLY RECOVERY 012 Dale

Wood, acrylic, polyester thread, non-recyclable inorganic matter, metal leaf, found timber 20 x 7 x 7cm 2009—2010 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Dale Ritchie None 010 Dale Ritchie

EARLY MUSIC / EARLY RECOVERY 013 Shooting Stars

Series: Early Music/Early Recovery Collected trinkets, sentimental, symbolic, ritualistic objects; found timber, non-recyclable inorganic matter, tissue paper, metal leaf, acrylic paint, polyester thread, cotton, pins 60 x 20 x 8cm 2009—2010 Notes: I compressed a whole lot of items I had collected forming a mini landfill. What emerged was a shape resembling that of a man taking aim, about to fire a gun at something. In hindsight I realise he’s aiming his weapon at the star he’s about to make a wish on.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 035, 044 010 Artist

EARLY MUSIC / EARLY RECOVERY 014 Escape Goats I

Series: Early Music/Early Recovery Salvaged timber, non-recyclable inorganic matter, tissue paper, copper electroplate, acrylic paint, polyester thread, ‘sheep skin’-poly thread and acid free paper, bases cut from a book given by a lover 220 x 40cm 2009—2010 Notes: I became intrigued with Yom Kippur, the ancient annual Jewish holy day, and the connected ritualistic use of the scapegoat. A Jungian analysis of this ritual explains that, in a mythological sense, ritual acts out archetypal patterns voluntarily, so that they are not acted out unconsciously. I was coming to terms with my scapegoat projections of blame. Until I own my short-comings, I blame.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Artist’s collection 015, 017, 052, 057, 078 010 Artist

EARLY MUSIC / EARLY RECOVERY 015 Escape Goats II

Series: Early Music/Early Recovery Non-recyclable inorganic matter, tissue paper, copper electroplate, acrylic paint, polyester thread ‘sheep skin’- polyester thread and acid free paper 70 x 11 x 6cm 2009—2010 Notes: This piece came into being when it was freed from the previous incarnation’s salvaged timber support.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Artist’s collection None 014, 010 Artist

EARLY MUSIC / EARLY RECOVERY 016 Unfinished Sympathy I

Non-recyclable inorganic matter, pins, polyester thread, found timber 35 x 20 x 15cm 2010 Notes: In processing feelings of jealousy and envy I became aware of the idiom ‘sympathetic joy’; the joy of witnessing someone else’s happiness. A psychologist once told me that this was the final outcome of the Oedipal myth, the joy a father experiences when he sees the love between his wife and son. As my feelings of jealousy and envy are grounded in the erroneous belief that there isn’t enough joy to go around I find myself in a constant process of renegotiating my feelings of lack.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 017, 037, 052, 078 010 Artist

[POST]TRAUMATICSTRESSDISORDER and MOMMY WHAT’S A MERKABA? I 017 to 031

[POST]TRAUMATICSTRESSDISORDER and MOMMY WHAT’S A MERKABA? I 017 Gustavo’s Grave I

Series: [Post]traumaticstressdisorder/Proto Noonoos Collected and gifted objects, 24 carat gold plated nine inch nails, book, plastic boxes, capsule cases, calendar, smoky quartz crystal, impepho, sage, metal leaf, acrylic paint, bottle of perfume, recycled painting on board, polyester thread, tissue paper, brass tacks, Noonoos, glass bottle, yarn made from shirt 85 x 139 x 13cm 2010 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 052, 062, 063, 064, 065, 078 016, 014, 010, 004, 002, 001 Artist

[POST]TRAUMATICSTRESSDISORDER and MOMMY WHAT’S A MERKABA? I 018 ([P]TSD) - Mommy What’s a Merkaba? I

Includes various Noonoos, bell jars, laminated corrugated cardboard bases, plastic domes Installation dimensions variable: approx. 300 x 300cm 2010 Notes: First installation of Mommy What’s a Merkaba. This installation included a number of Noonoos. The Noonoos had now started collecting and forming larger bodies by piling upon each other, using the principle of balance to place themselves. They are then pinned in place; a bit like pinning a coiffure. Here the term Noonoo refers to both a singular entity and a collective group.

Exhibited: Collection: Incarnations:

Ancestry: Image:

Not exhibited Reincarnated 019, 020, 021, 022, 023, 024, 025, 026, 027, 028, 029, 030, 031, 035, 044, 046, 047, 048, 049, 050, 051, 052, 053, 054, 055, 057, 061, 066, 071, 084 010 Artist * also see ADDITIONAL IMAGES

[POST]TRAUMATICSTRESSDISORDER and MOMMY WHAT’S A MERKABA? I 019 Yello I

Series: ([P]TSD) - Mommy What’s a Merkaba? I Non-recyclable inorganic matter, polyester thread, pins, linoleum salvaged from the beach, laminated corrugated cardboard, bell jar 42 x 23cm 2010 Notes: The body of work [Post]traumaticstress points at a place beyond [after] trauma and stress, the place of arrival after process.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 046, 053 018, 010 Nina Lieski

[POST]TRAUMATICSTRESSDISORDER and MOMMY WHAT’S A MERKABA? I 020 Pink I/Sick Chicken

Series: ([P]TSD) - Mommy What’s a Merkaba? I Non-recyclable inorganic matter, polyester thread, pins, linoleum salvaged from the beach, laminated corrugated cardboard, bell jar 45 x 42 x 42cm 2010 Notes: This collection of Noonoos get their names from their appearance or from the names other people have given them.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 050, 054 018, 010 Artist

[POST]TRAUMATICSTRESSDISORDER and MOMMY WHAT’S A MERKABA? I 021 Multi I

Series: ([P]TSD) - Mommy What’s a Merkaba? I Non-recyclable inorganic matter, polyester thread, pins, linoleum salvaged from the beach, laminated corrugated cardboard, bell jar 42 x 23 x 23cm 2010 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 048 018, 010 Nina Lieski

[POST]TRAUMATICSTRESSDISORDER and MOMMY WHAT’S A MERKABA? I 022 Twin I

Series: ([P]TSD) - Mommy What’s a Merkaba? I Non-recyclable inorganic matter, polyester thread, pins, linoleum salvaged from the beach, laminated corrugated cardboard, bell jar 42 x 23 x 23cm 2010 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 047 018, 010 Nina Lieski

[POST]TRAUMATICSTRESSDISORDER and MOMMY WHAT’S A MERKABA? I 023 Green

Series: ([P]TSD) - Mommy What’s a Merkaba? I Non-recyclable inorganic matter, polyester thread, pins, linoleum salvaged from the beach, laminated corrugated cardboard, bell jar 50 x 23 x 23cm 2010 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 057,061, 071, 084 018, 010 Artist

[POST]TRAUMATICSTRESSDISORDER and MOMMY WHAT’S A MERKABA? I 024 Tall

Series: ([P]TSD) - Mommy What’s a Merkaba? I Non-recyclable inorganic matter, polyester thread, pins, linoleum salvaged from the beach, laminated corrugated cardboard, bell jar 60 x 23 x 23cm 2010 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Tiziana Giardini None 018, 010 Artist

[POST]TRAUMATICSTRESSDISORDER and MOMMY WHAT’S A MERKABA? I 025 Liza I

Series: ([P]TSD) - Mommy What’s a Merkaba? I Non-recyclable inorganic matter, polyester thread, pins, linoleum salvaged from the beach, laminated corrugated cardboard, bell jar 45 x 42 x 42cm 2010 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 49 018, 010 Artist

[POST]TRAUMATICSTRESSDISORDER and MOMMY WHAT’S A MERKABA? I 026 Flesh

Series: ([P]TSD) - Mommy What’s a Merkaba? I Non-recyclable inorganic matter, polyester thread, pins, linoleum salvaged from the beach, laminated corrugated cardboard, bell jar 42 x 23 x 23cm 2010 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 055 018, 010 Artist

[POST]TRAUMATICSTRESSDISORDER and MOMMY WHAT’S A MERKABA? I 027 Red I

Series: ([P]TSD) - Mommy What’s a Merkaba? I Non-recyclable inorganic matter, polyester thread, pins, linoleum salvaged from the beach, laminated corrugated cardboard, bell jar 42 x 23 x 23cm 2010 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 051 018, 010 Nina Lieski

[POST]TRAUMATICSTRESSDISORDER and MOMMY WHAT’S A MERKABA? I 028 Giant

Series: ([P]TSD) - Mommy What’s a Merkaba? I Non-recyclable inorganic matter, studio-detritus, polyester thread, pins 180 x 100 x 100cm 2010 Notes: There was a shift with the making of Giant. I started using recyclable matter and also studio-detritus, material left over from a specific project. This detritus holds the energy of that project and from that new art is born.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 035, 044, 057, 066 018, 010 Artist

[POST]TRAUMATICSTRESSDISORDER and MOMMY WHAT’S A MERKABA? I 029 Lee

Series: ([P]TSD) - Mommy What’s a Merkaba? I Non-recyclable inorganic matter, polyester thread, linen fabric, pins, linoleum salvaged from the beach, laminated corrugated cardboard, bell jar 23 x 12 x 8cm 2010 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Nicky Bailey None 018, 010 Artist

[POST]TRAUMATICSTRESSDISORDER and MOMMY WHAT’S A MERKABA? I 030 Blue

Series: ([P]TSD) - Mommy What’s a Merkaba? I Non-recyclable inorganic matter, polyester thread, pins, linoleum salvaged from the beach, laminated corrugated cardboard, bell jar 42 x 23 x 23cm 2010 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Lois Scallan None 018, 010 Artist

[POST]TRAUMATICSTRESSDISORDER and MOMMY WHAT’S A MERKABA? I 031 Snake Boat

Non-recyclable inorganic matter, polyester thread, pins, linoleum salvaged from the beach, laminated corrugated cardboard, wood grain paper, mirror Diameter 30cm 2010 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Artist’s collection None 018, 010 Artist

PINHOLE 032 to 034

PINHOLE 032 Muslimgauze

Torn shirt, torn sheet, non-recyclable inorganic matter, polyester thread, board, glue, tissue paper, glass, Plexiglas, MDF, pin-hole negative, archival photograph cut into shapes 220 x 40 x 20cm 2011 Notes: I was invited to participate in a group show where each artist was given a pinhole camera and encouraged to move beyond just a photographic print. I chose to be the subject of the photograph. I took 3 shots and sat in meditation for each shot for 15 minutes, 20 minutes and 25 minutes respectively. Both Muslimgauze and Personal Jesus are the ‘meta’ behind a series of pinhole photographs I took.

Exhibited: Incarnations: Ancestry: Collection: Image:

Haas None None Joni Foster Artist * also see ADDITIONAL IMAGES

PINHOLE 033 Personal Jesus/Personal Genius

Collection of 12 years of journals, pin-hole negative, non-recyclable inorganic matter, polyester thread, knitted sewing thread, metal leaf, acrylic paint, sconce profile cut from bible, pins 100 x 23 x 20cm 2011 Notes: I used 12 years of personal journals as the base supporting a pinhole photograph. These books were in turn placed on a sconce made by cutting my profile out of a bible. I use the religious book [cultural/collective] to set off the personal [singular].

The piece in its entirety was deconstructed and those components are now at rest. The Noonoos which were in the piece where reassembled into one Noonoo. This Noonoo is now in Joni Foster’s collection.

Exhibited: Collection: Incarnations: Ancestry: Image:

Haas Reincarnated, reassembled Noonoos now live with Joni Foster 034 None Artist

PINHOLE 034 Personal Jesus Noonoo/Joni Noonoo

Non-recyclable inorganic matter, polyester thread, pins 21 x 14 x 8cm 2011 Notes: The Noonoos from Personal Jesus/Personal Genius where reassembled into one Noonoo.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Joni Foster None 033 Artist

[P]STD II 2012—2013 035 to 044

[P]STD II 2012—2013 035 P(h)i[re] I

Series: [Post]traumaticstressdisorder Recycled artwork, collection of objects no longer serving purpose, collected paper, polyester thread 100 x 180 x 100cm 2012 Notes: My father made model aeroplanes, and every few years would pile them up and burn them. In hindsight it seems more an act of frustration and self harm, than anything else. Through some introspection it was revealed to me that the same emotions motivated my urge towards destruction. Every few years I too would pile up my art and meaningful treasures and I would burn everything. It was a purging. I had arrived at that point with P(h)i[re] I. I was itching for a fire, but needed to push through and instead of an actual destructive fire, create an alchemical one.

The matter wrapped in white and red includes art and items that had been important to me. The wrapping in white and red removes all appearance, purifies and returns things to their neutral base matter. I then bound certain of the objects in black, making black Noonoos, which looked like coal; these are then suspended by flames crocheted out of polyester thread. Here art becomes the alchemical process, creating alchemical fire.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 044 028, 018, 013, 011, 009 Artist

[P]STD II 2012—2013 036 Horse with No Mane and Friend

Series: [Post]traumaticstressdisorder Non-recyclable inorganic matter, recycled artwork, found timber, recycled stretchers, collection of significant objects, corrugated cardboard, tissue paper, pins, glue, polyester thread, collected paper, acrylic paint 100 x 25 x 25cm, 75 x 25 x 25cm 2012 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 044 None Artist

[P]STD II 2012—2013 037 Unfinished Sympathy II/Sympathetic Joy

Series: [Post]traumaticstressdisorder Noonoos, Blokkie, non-recyclable inorganic matter, pins, found timber, collected paper, polyester thread, Plexiglas 220 x 38 x 20cm 2012 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Artist’s collection None 016, 014, 006, 004, 001 Artist * also see ADDITIONAL IMAGES

[P]STD II 2012—2013 038 European Lovers

Series: [Post]traumaticstressdisorder Recycled artwork, glass, Blokkie Relic, collected paper, polyester thread, acrylic paint, pins, corrugated cardboard, wood grain paper, Plexiglas 95 x 43 x 13cm 2012 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Artist’s collection None 004, 001 Artist

[P]STD II 2012—2013 039 And the Day Came When Their DNA Changed to 12 Strand

Series: [Post]traumaticstressdisorder Recycled artwork, collection of ritual objects holding significant meaning, glass, found mercury, bottles, plastic, prayer beads, set of plastic nativity figures, fired clay, metal spoons, collection of iron staples, pins, magnifying glass, Blokkie, polyester thread, acrylic paint, collected paper 180 x 100cm 2012 Notes: I had been influenced by a number of theories pointing out that things would dramatically change at the end of 2012. I felt the need to pull things together and anchor them down. The objects included in this process all held very specific personal meaning, imbued with emotion that comes from an irrational superstitious place. This work combines many different artworks, which were made over a number of years. The material contained was collected over a period of 7 years, items that managed to escape earlier fires. The work, in some sense, seems to explode what is inside a Noonoo in a meta-diagrammatical way.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 059, 079 001 Artist

[P]STD II 2012—2013 040 Moving Continent and Financial Freedom I

Series: [Post]traumaticstressdisorder Noonoos, recycled wooden frames, polyester thread, acrylic paint, bell jar, corrugated cardboard, cardboard, magnets, photocopied money 42 x 30 x 23cm 2012 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 043 010 Artist

[P]STD II 2012—2013 041 Somewhere Between Fear and Hope I

Series: [Post]traumaticstressdisorder Recycled painting, wood, rope, knitted polyester thread, plastic doilies, Noonoo, Blokkie, linoleum salvaged from the beach, Blokkie Relics, pins, metal leaf 53 x 100 x 20cm Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 060 010, 004, 001 Artist

[P]STD II 2012—2013 042 Heart [Frankie]

Non-recyclable inorganic matter, recyclable matter, polyester thread 35 x 25 x 25cm 2012 Description: This Noonoo roughly resembled a biological human heart similar to Blue Heart/Cold Hearted (082).

It went to live with Frankie and somehow got lost in her rather chaotic household.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Lost None None No image

[P]STD II 2012—2013 043 Moving Continent and Financial Freedom II

Series: [Post]traumaticstressdisorder Noonoos, wooden frames, polyester thread, acrylic paint, bell jar, corrugated cardboard, cardboard, magnets, photocopied money 23 x 20 x 20cm 2013 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Annette Hoekstra None 040, 010 Artist

[P]STD II 2012—2013 044 P(h)i[re] II

Recycled artwork, collection of objects no longer serving purpose, collected paper, polyester thread 100 x 180 x 100cm 2013 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Artist’s collection None 036, 035, 028, 018, 014, 013, 011, 009 Artist

MOMMY WHAT’S A MERKABA? II 045 to 052

MOMMY WHAT’S A MERKABA? II 045 Bride II

Series: Mommy What’s a Merkaba? II All material gifts from ex-lovers; shirts, studio-detritus, dress making pins, bell jar, wing nut, polyester thread, polyurethane, salvaged coffee table with faux marble top 80 x 104 x 62cm 2013 Notes: This show at Decor Z is the first time Noonoos were seen in public. The show was a parody of interior decor; displaying [dys]functional [art]objects. The base for each Noonoo is a salvaged and modified coffee table. Each piece embodies an archetypal psychological pattern. They give form to matter from interior, psycho-spiritual spaces.

Exhibited: Collection: Incarnations: Ancestry: Image:

Décor Z - Spier Reincarnated 058 009 Liza Grobler

MOMMY WHAT’S A MERKABA? II 046 Yello II

Series: Mommy What’s a Merkaba? II Salvaged coffee table with mock marble paint finish, non-recyclable inorganic matter, laminated corrugated cardboard, found linoleum, bell jar, polyester thread, pins, linen crochet thread 86 x 83 x 46cm 2013 Exhibited: Collection: Incarnations: Ancestry: Image:

Décor Z - Spier Reincarnated 053 019, 018, 010 Liza Grobler

MOMMY WHAT’S A MERKABA? II 047 Twin II

Series: Mommy What’s a Merkaba? II Salvaged tea trolley, non-recyclable inorganic matter, polyester thread, pins, polyurethane, laminated corrugated cardboard, found linoleum, bell jar 102 x 75 x 42cm 2013 Exhibited: Collection: Incarnations: Ancestry: Image:

Décor Z - Spier Artist’s collection None 022, 018, 010 Artist

MOMMY WHAT’S A MERKABA? II 048 Multi II

Series: Mommy What’s a Merkaba? II Salvaged and modified tea trolley, mirror, leather, polyester thread, non-recyclable inorganic matter, pins, laminated corrugated cardboard, found linoleum, bell jar 31 x 72 x 100cm 2013 Exhibited: Collection: Incarnations: Ancestry: Image:

Décor Z - Spier Nicci Bailey None 021, 018, 010 Liza Grobler

MOMMY WHAT’S A MERKABA? II 049 Liza II

Series: Mommy What’s a Merkaba? II Salvaged and modified coffee table, glass, acrylic paint, reels of polyester thread, non-recyclable inorganic matter, polyester thread, pins, polyurethane, laminated corrugated cardboard, found linoleum, bell jar 90 x 110 x 51cm 2013 Exhibited: Collection: Incarnations: Ancestry: Image:

Décor Z - Spier Liza Grobler None 025, 018, 010 Artist * also see ADDITIONAL IMAGES

MOMMY WHAT’S A MERKABA? II 050 Pink II

Series: Mommy What’s a Merkaba? II Salvaged and painted wooden table, vinyl, acrylic, non-recyclable inorganic matter, polyester thread, pins, laminated corrugated cardboard, found linoleum, bell jar 104 x 72 x 45cm 2013 Exhibited: Collection: Incarnations: Ancestry: Image:

Décor Z - Spier Reincarnated 054 020, 018, 010 Liza Grobler

MOMMY WHAT’S A MERKABA? II 051 Red II

Series: Mommy What’s a Merkaba? II Salvaged and truncated wooden table, non-recyclable inorganic matter, polyester thread, pins, laminated corrugated cardboard, found linoleum, bell jar, linen crochet thread 120 x 42 x 30cm 2013 Exhibited: Collection: Incarnations: Ancestry: Image:

Décor Z - Spier Artist’s collection None 027, 018, 010 Liza Grobler

MOMMY WHAT’S A MERKABA? II 052 Gustavo’s Grave II

Collected and gifted objects, 24 carat gold plated nine inch nails, book, plastic boxes, capsule cases, calendar, smoky quartz crystal, impepho, sage, metal leaf, acrylic paint, bottle of perfume, recycled painting on board, polyester thread, tissue paper, brass tacks, Noonoos, glass bottle, yarn made from shirt 139 x 85 x 13cm 2013 Notes: This incarnation happened when the original work was turned 180 degrees i.e. from a landscape format to portrait.

Exhibited: Collection: Incarnations: Ancestry: Image:

Décor Z - Spier Reincarnated 057, 062, 063, 064, 065, 078 018, 017, 016, 014, 004, 001 Liza Grobler

MOMMY WHAT’S A MERKABA? III 053 to 054

MOMMY WHAT’S A MERKABA? III 053 Yello III

Series: Mommy What’s a Merkaba? III Salvaged coffee table with mock marble paint finish, non-recyclable inorganic matter, laminated corrugated cardboard, found linoleum, bell jar, polyester thread pins, linen crochet thread 86 x 83 x 46cm 2015 Exhibited: Collection: Incarnations: Ancestry: Image:

Woordfees - Stellenbosch Deconstructed None 046, 019, 018, 010 No image

MOMMY WHAT’S A MERKABA? III 054 Pink III

Series: Mommy What’s a Merkaba? III Salvaged and painted wooden table, vinyl, acrylic, non-recyclable inorganic matter, polyester thread, pins, laminated corrugated cardboard, found linoleum, bell jar 90 x 110 x 51cm 2015 Notes: Pink III was Pink II Noonoo on the base of Liza II. Exhibited: Collection: Incarnations: Ancestry: Image:

Woordfees - Stellenbosch Deconstructed None 050, 020, 018, 010 No image

2014—2016 055 to 061

2014 — 2016 055 Actualually Virtual

Dissected Flesh Noonoo, polyester thread reels, cardboard, paper, archival print 77 x 35 x 6cm 2014 — Notes: I dissected Flesh Noonoo, made a wax rubbing of that dissection and gave it an ink wash. This work is grappling with meta, primary principles behind matter, whilst also wrestling with the matter, as in ‘what’s the matter?’

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited In process None 026, 018, 010 Geof Kirby

2014—2016 056 A Plane of Immanence: Burning From the Inside, Burning From the Inside, Burning the House Down.

Recycled artwork, burnt board, paper, ink, polyester thread, foil, pins, glue, acrylic paint, tissue, Blokkie Relics triptych, 35 x 70cm each 2015 Exhibited: Collection: Incarnations: Ancestry: Image:

Test Kitchen Luke Dale-Robert None 008, 004, 001 Artist

2014—2016 057 Establishing Healthy Boundaries with Friends

Salvaged timber, reassembled Noonoos, tissue paper, metal powders, inks, acrylic paint 141 x 42 x 13cm 2016 Notes: By processing (making art) with material, which comes from specific people, I am able to understand my relationship with them.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Reincarnated 078 052, 028, 023, 018, 014, 010 Artist

2014—2016 058 Bride III

All material are gifts from ex lovers; shirts, detritus from art making, dress making pins, bell jars, wing nut, polyester thread, salvaged and modified coffee table with faux marble top, love letters, recycled artwork 43 x 105 x 31cm 2016 Notes: Bride in all her incarnations has been my way of processing my addiction to romantic relationships. The point of departure is Duchamp’s Bride Stripped Bare by Her Bachelors, Even. All material used in this work has come from lovers. It consists of shirts, art/studio-detritus and love letters. The letters have been made into balls of yarn. Yarn is an absurdist pun on narrative, the stories I make up and believe in.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Artist’s collection None 045, 009 Artist

2014—2016 059 12 Stranded DNA

Recycled artwork, collection of ritual objects holding significant meaning, glass, found mercury, bottles, plastic, prayer beads, set of plastic nativity figures, fired clay, metal spoons, collection of iron staples, pins, magnifying glass, Blokkie, polyester thread, acrylic paint, collected paper 100 x 180cm 2016 Notes: This incarnation happened when the original work was turned 180 degrees i.e. from a portrait format to landscape.

Exhibited: Collection: Incarnations: Ancestry: Image:

Eclectica Design and Art Reincarnated 079 039, 001 Artist

2014—2016 060 Somewhere Between Fear and Hope II

Recycled painting, wood, rope, knitted polyester thread, plastic doilies, Noonoo, Blokkie, linoleum salvaged from beach, Blokkie Relics, pins, metal leaf, burnt paper, acrylic ink 60 x 120 x 20cm 2016 Exhibited: Collection: Incarnations: Ancestry: Image:

Eclectica Design and Art Private Collection None 041, 010, 004, 001 Artist

2014—2016 061 Purple Noonoo

Non-recyclable inorganic matter, polyester thread, pins, linoleum salvage from the beach, laminated corrugated cardboard, bell jar 45 x 42 x 42cm 2016 Exhibited: Collection: Incarnations: Ancestry: Image:

Ebony Curated Artist’s collection None 023, 018, 010 Karl Rogers

NOONOO CLAN 062 to 065

NOONOO CLAN 062 Peter Bunny

Series: Noonoo Clan Torn canvas, toy rabbit, calendar, plastic box, capsule cases, polyester thread, metal leaf 20 x 12 x 12cm 2016 Exhibited: Collection: Incarnations: Ancestry: Image:

Ebony Curated Private collection None 052, 017 Karl Rogers

NOONOO CLAN 063 Crystal

Series: Noonoo Clan Plastic boxes containing various collected material, torn book, smoky quartz crystal, metal leaf, polyester thread 8 x 8 x 6cm 2016 Exhibited: Collection: Incarnations: Ancestry: Image:

Ebony Curated Artist’s collection None 052, 017 Artist

NOONOO CLAN 064 Torso

Series: Noonoo Clan Blokkie, Noonoo, sage, metal leaf, polyester thread 25 x 8 x 6cm 2016 Exhibited: Collection: Incarnations: Ancestry: Image:

Ebony Curated Artist’s collection None 052, 017, 010, 001 Artist

NOONOO CLAN 065 Perfume

Series: Noonoo Clan Recycled Return of the Yantras, torn canvas, religious text on paper, studio-detritus, metal leaf, bottle of perfume, polyester thread 25 x 8 x 6cm 2016 Exhibited: Collection: Incarnations: Ancestry: Image:

Ebony Curated Artist’s collection None 052, 017, 002, 001 Artist

STUD NOONOOS 066 to 073

STUD NOONOOS 066 Hiding

Series: Stud Noonoos Non-recyclable inorganic matter, plastic studs, polyester thread 50 x 30 x 30cm 2016 Notes: Hiding marked a shift in the Noonoo. The material used is both non-recyclable and recyclable matter. From being a conglomerate of individual forms these Noonoos have morphed into a single form. The material used is often from specific projects or events. They become the embodiment of something I was processing. They also become embellished with plastic studs, referring back to the erotic fetishism from Return of the Yantras.

Exhibited: Collection: Incarnations: Ancestry: Image:

Ebony Curated Lunetta Bartz None 028, 018 Artist

STUD NOONOOS 067 Tooth and Nail

Series: Stud Noonoos Non-recyclable and recyclable inorganic detritus, studio-detritus, found linoleum, laminated corrugated cardboard, plastic studs, synthetic hair, Plexiglas, tissue paper, acrylic paint, metal powder 51,5 x 25 x 20cm 2016 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Artist’s collection None None Artist

STUD NOONOOS 068 White Knuckle

Series: Stud Noonoos Non-recyclable and recyclable inorganic detritus, synthetic hair, plastic studs, polyester thread 35 x 40 x 35cm 2016 Exhibited: Collection: Incarnations: Ancestry: Image:

Ebony Curated Artist’s collection None None Karl Rogers

STUD NOONOOS 069 Heart

Series: Stud Noonoos Non-recyclable and recyclable inorganic detritus, plastic studs, polyester thread 25 x 15 x 10cm 2016 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Joaquim Almeida None None Artist

STUD NOONOOS 070 Nicci

Series: Stud Noonoos Non-recyclable and recyclable inorganic detritus, studio-detritus from commission, plastic studs, polyester thread 35 x 25 x 10cm 2016 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Nicci Bailey None None Nicci Bailey

STUD NOONOOS 071 Euthanasia

Series: Stud Noonoos - Euthanasia and Friends Studio-detritus from commission, recycled artwork, acrylic paint, polyester thread, re-assembled Noonoos 120 x 60 x 40cm 2016— Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited In process None 023, 018 Artist

STUD NOONOOS 072 Doughnut

Series: Stud Noonoos - Euthanasia and Friends Studio-detritus from commission, recycled artwork, polyester thread 86 x 74 x 19cm 2016— Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited In process None None Artist

STUD NOONOOS 073 Shamiela and the Forty Thieves

Series: Stud Noonoos - Euthanasia and Friends Studio-detritus from commission, recycled artwork, acrylic, polyester thread, plastic studs, sand bags, sequins 110 x 40 x 37cm 2016 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Artist’s collection None None Nina Lieski

2016—2017 074 to 084

2016—2017 074 Enough

Non-recyclable and recyclable inorganic matter, wig, sequins, recycled artwork, reconstituted Noonoo experiments 38 x 20 x 18cm 2016 Exhibited: Collection: Incarnations: Ancestry: Image:

Eclectica Design and Art Lunetta Bartz None None Artist

2016—2017 075 Pink Cloud/Torso

Studio-detritus, paper, sequins, soap, polyester thread 37 x 26 x 24cm 2016 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Artist’s collection None None Artist

2016—2017 076 Head

Studio-detritus, recycled artwork, packing detritus, sequins, polyester thread 30 x 23 x 22cm 2016 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Artist’s collection None None Artist

2016—2017 077 Getting a Handle

Studio-detritus, recycled artwork, polyester thread, elastic, electric drill handle, sequins 67 x 43 x 24cm 2016 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Artist’s collection None None Artist

2016—2017 078 BRICS/Good Fences Make Good Neighbours

Salvaged timber, re-assembled Noonoos, tissue paper, metal powders, inks, recycled artwork, collection of ritual objects holding significant meaning, glass bottle, Blokkie, polyester thread, acrylic paint, collected paper, metal leaf 54 x 156 x 16cm 2017 Exhibited: Collection: Incarnations: Ancestry: Image:

Eclectica Design and Art Artist’s collection None 057, 052, 017, 016, 014, 010 Artist * also see ADDITIONAL IMAGES

2016—2017 079 Highly Strung

Recycled artwork, collection of ritual objects holding significant meaning, glass, found mercury, bottles, plastic, prayer beads, set of plastic nativity figures, fired clay, metal spoons, collection of iron staples, pins, magnifying glass, Blokkie, polyester thread, acrylic paint, collected paper 100 x 180cm 2017 Notes: This incarnation happened when 12 Stranded DNA was re-named.

Exhibited: Collection: Incarnations: Ancestry: Image:

Ebony Curated Private collection None 059, 039, 001 Karl Rogers

2016—2017 080 Copper

Studio-detritus, acrylic paint, polyester thread, laminated corrugated cardboard, found linoleum, copper jewellery tree, metal powders, ink 43 x 34 x 34cm 2017 Exhibited: Collection: Incarnations: Ancestry: Image:

Reverie Social Table in collaboration with Conrad Hicks Artist’s collection None None Artist

2016—2017 081 The Chicken and the Egg

Studio-detritus, elastic thread, electrical cord, thread, agate egg 20 x 15 x 11cm 2017 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Nicci Bailey None None Artist

2016—2017 082 Blue Heart/Cold Hearted

Studio-detritus, recyclable matter, polyester thread, cotton reels, packing detritus 43 x 30 x 20cm 2017 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Liza Grobler None None Artist

2016—2017 083 Light Noonoo

Studio-detritus, non-recyclable and recyclable inorganic detritus, polyester thread 48 x 48 x 46cm 2017 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Artist’s collection None None Artist

2016—2017 084 Green Elf Avatar/The Green One that Got Away

Non-recyclable inorganic matter, polyester thread, pins, linoleum salvaged from the beach, laminated corrugated cardboard, Chinese purse 14 x 12 x 6cm 2017 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Nicci Bailey None 023, 018 Artist

ADDITIONAL IMAGES

ADDITIONAL IMAGES 006 Noonoo Babas

Series: Early Music/Early Recovery Torn painted canvas, Blokkie Relics, polyester thread, cotton fabric, found images on paper, acrylic paint, metal leaf, grouting paste made from ash of burnt Blokkie innards mixed with wood glue Various: 3 x 14 x 3cm, 6 x 8 x 6cm, 8 x 6 x 4cm, 15 x 15 x 8cm, 20 x 15 x 15cm 2009—2010 Notes: Destruction has always been part of my creative process, something I inherited from my father. I had gone through a phase of making paintings on canvas which I tore into small pieces. I then started stacking these pieces and they, in turn, began to morph into Blokkies. It felt like I was making my own material, my own clay. The canvas Blokkies exhibited stronger individual personalities, and became known as the Noonoo Babas. I applied Blokkie Relics to the Noonoos by cementing them with a mixture of ash from the burnt inside of the Blokkies and glue.

Again all procedures followed a meticulous ritualistic order. The name Noonoo is an affectionate South African term for an undefined creature and Babas because they were cute and small like babies.

A total of 7 were made.

Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Gustavo Fijalkow 007, 037 004, 001 Artist

ADDITIONAL IMAGES 010C Betti Noonoos Series: [Post]traumaticstressdisorder/Proto Noonoos Non-recyclable inorganic matter, polyester thread, metal leaf, pins 14 x 19 x 14cm, 7 x 10 x 7cm and 3 x 6 x 2cm 2010 Exhibited: Collection: Image:

Not exhibited Betti Marenko Betti Marenko

ADDITIONAL IMAGES 018 ([P]TSD) - Mommy What’s a Merkaba? I

Includes various Noonoos, bell jars, laminated corrugated cardboard bases, plastic domes Installation dimensions variable: approx. 300 x 300cm 2010 Notes: First installation of Mommy What’s a Merkaba. This installation included a number of Noonoos. The Noonoos had now started collecting and forming larger bodies by piling upon each other, using the principle of balance to place themselves. They are then pinned in place; a bit like pinning a coiffure. Here the term Noonoo refers to both a singular entity and a collective group.

Exhibited: Collection: Incarnations:

Ancestry: Image:

Not exhibited Reincarnated 019, 020, 021, 022, 023, 024, 025, 026, 027, 028, 029, 030, 031, 035, 044, 046, 047, 048, 049, 050, 051, 052, 053, 054, 055, 057, 061, 066, 071, 084 010 Artist

ADDITIONAL IMAGES 032 Muslimgauze

Torn shirt, torn sheet, non-recyclable inorganic matter, polyester thread, board, glue, tissue paper, glass, Plexiglas, MDF, pin-hole negative, archival photograph cut into shapes 220 x 40 x 20cm 2011 Notes: I was invited to participate in a group show where each artist was given a pinhole camera and encouraged to move beyond just a photographic print. I chose to be the subject of the photograph. I took 3 shots and sat in meditation for each shot for 15 minutes, 20 minutes and 25 minutes respectively. Both Muslimgauze and Personal Jesus are the ‘meta’ behind a series of pinhole photographs I took.

Exhibited: Incarnations: Ancestry: Collection: Image:

Haas None None Joni Foster Artist

ADDITIONAL IMAGES 032 Muslimgauze

Torn shirt, torn sheet, non-recyclable inorganic matter, polyester thread, board, glue, tissue paper, glass, Plexiglas, MDF, pin-hole negative, archival photograph cut into shapes 220 x 40 x 20cm 2011 Notes: I was invited to participate in a group show where each artist was given a pinhole camera and encouraged to move beyond just a photographic print. I chose to be the subject of the photograph. I took 3 shots and sat in meditation for each shot for 15 minutes, 20 minutes and 25 minutes respectively. Both Muslimgauze and Personal Jesus are the ‘meta’ behind a series of pinhole photographs I took.

Exhibited: Incarnations: Ancestry: Collection: Image:

Haas None None Joni Foster Artist

ADDITIONAL IMAGES 037 Unfinished Sympathy II/Sympathetic Joy

Series: [Post]traumaticstressdisorder Noonoos, Blokkie, non-recyclable inorganic matter, pins, found timber, collected paper, polyester thread, Plexiglas 220 x 38 x 20cm 2012 Exhibited: Collection: Incarnations: Ancestry: Image:

Not exhibited Artist’s collection None 016, 014, 006, 004, 001 Artist

ADDITIONAL IMAGES 049 Liza II

Series: Mommy What’s a Merkaba? II Salvaged and modified coffee table, glass, acrylic paint, reels of polyester thread, non-recyclable inorganic matter, polyester thread, pins, polyurethane, laminated corrugated cardboard, found linoleum, bell jar 90 x 110 x 51cm 2013 Exhibited: Collection: Incarnations: Ancestry: Image:

DĂŠcor Z - Spier Liza Grobler None 025, 018, 010 Artist

ADDITIONAL IMAGES 078 BRICS/Good Fences Make Good Neighbours

Salvaged timber, re-assembled Noonoos, tissue paper, metal powders, inks, recycled artwork, collection of ritual objects holding significant meaning, glass bottle, Blokkie, polyester thread, acrylic paint, collected paper, metal leaf 54 x 156 x 16cm 2017 Exhibited: Collection: Incarnations: Ancestry: Image:

Eclectica Design and Art Artist’s collection None 057, 052, 017, 016, 014, 010 Artist

MAKING OF THE NOONOO INDEX