presumed to be the property of the Karretjie Mense. Ractliffe’s desire to know why the donkeys where killed, the lifeblood of these travelling people, inspired her interest in the forensic qualities of photography, recording the ebb and flow of absence and presence, attempting to solve the mystery of that moment. The archaeology of the moment is especially relevant at sites where conflict once existed, making End of Time a clear precursor to her current work on war. Meditations on the spatial and temporal qualities of the landscape and its history form the core of Radcliff’s inquiry. Following from this, Radcliffe’s black and white photographs amplify the silence that follows trauma, communicating the manner in which past dissent manifests itself in the present. Through erasure absence becomes apparent in the present, exposing the ephemeral as timeless. The landscape is a palimpsest in this regard, a territory that we occupy, and an occupied place that preoccupies us throughout our lives. 19
A catalogue detailing the works and artists included in the third iJusi portfolio, curated by Pieter Hugo.