them. Naudé’s compositions are concise and considered, placing the viewer in a position of reverence towards the renegade dogs. Naudé uses the camera angle as a mechanism to portray the virtue, dignity and character of the Africanis. People are treated differently; placing the viewer in a position that looks down upon them, or at best situates them on level terms. The desolation of the people in Naudé’s landscapes communicates the affect of control and the fear of the outsider or untamed. Relaying this against the contest between ‘fallen-man’ and ‘escaped-beast’, Naudé takes the viewer on a journey where it becomes impossible to define the contrast between civilized man and wild animal. In this way Naudé negates any assertion of superiority, insinuating that humans and animals find level ground in their shared corruption: none come from pure origins, none are free from sin. 17
A catalogue detailing the works and artists included in the third iJusi portfolio, curated by Pieter Hugo.