LESLEY (BARKER) DEYSEL Foggy Morning | Oil on canvas | 300 x 300 mm
MARINA DE FREITAS Matric 2007 BIOGRAPHY - Marina de Freitas, a photographer from Pretoria, South Africa, discovered her passion for the art form at Pretoria High School for Girls in 2004, coinciding with the incep on of the Photography Club. Under the guidance of an inspiring and suppor ve teacher, she embarked on a journey that would lay the founda on for her career in photography, videography, graphic design, and anima on. Since gradua ng in 2007, Marina has been an ac ve par cipant in the realms of photography, design, and marke ng. Her early experimental work in “pain ng with light” photography, some of which undertaken in collabora on with fellow alumna, Nicole Olwagen, will be showcased in this upcoming OGA art exhibi on, exemplifying her innova ve approach to visual expression.
MARINA DE FREITAS MEMBERSHIP NORTHERN WIND ALBUM ART, 2012 Photography, Pain ng with light H: 297mm x W: 210 mm photographic print, mounted
MARINA DE FREITAS PLUTO WAS A PLANET PORTRAIT SERIES, 2008 “XAVIER” Photography, Pain ng with light H: 297mm x W: 210 mm photographic print, mounted PLUTO WAS A PLANET PORTRAIT SERIES, 2008 “NASTASHA” Photography, Pain ng with light H: 297mm x W: 210 mm photographic print, mounted
MARINA DE FREITAS PLUTO WAS A PLANET PORTRAIT SERIES, 2008 “MARINA” Photography, Pain ng with light H: 297mm x W: 210 mm photographic print, mounted PLUTO WAS A PLANET PORTRAIT SERIES, 2008 “SONIA” Photography, Pain ng with light H: 297mm x W: 210 mm photographic print, mounted
PRINCESS NDALA Matric 2015 BIOGRAPHY - I am a part- me lecturer at the Tshwane University of Technology, passionate about jewellery design and manufacture. My highest qualifica on is BTech: Jewellery Design and Manufacture and I am currently working on comple ng my Master of Art and Design qualifica on. Equally thrilled by manufacturing crea ve and personal pieces and educa ng others about the history of jewellery. I aspire to open an establishment that would employ graduates interested in commercialising tradi onal jewellery. Cast Ring | Sterling Silver | 29mm x 7mm x 3mm Engagement Ring Sterling Silver and cubic zirconia 21mm x 8mm x 2mm
PRINCESS NDALA Danae Set | Sterling Silver and cubic zirconia Earrings: 18.5 mm x 13 mm x 1.5 mm Necklace: 21mm x 13mm x 2mm Textured Bracelet | Sterling Silver | 201mm x 23mm x 4mm
ROSMARY MARTIN (TRUTER) Matric 1980 BIOGRAPHY - I enjoy pain ng in a way that uses the brush strokes to draw, this results in images filled with ac on showing the movement of animals in the wild. The medium of acrylics is perfect for this fast style of pain ng. I also work with charcoal as it brings out movement and complements the acrylics. I Paint because I love the process. The exhilara on of the image coming alive with every brushstroke and the feeling of being lost in the zone drives my joy and will to paint. Recently I have been exploring nega ve pain ng techniques. The vibrant colours and interes ng contrasts make the nega ve pain ngs a challenge worth pursuing. Sacred ibis feeding 1 | Pen and ink, framed behind glass Frame: 180mm x 200mm | Drawing: 60mm x 80mm
ROSMARY MARTIN (TRUTER) Sacred ibis feeding 2 | Pen and ink, framed behind glass Frame: 180mm x 200mm | Drawing: 60mm x 80mm
ROSMARY MARTIN (TRUTER) Sacred ibis wading| Pen and ink, framed behind glass Frame: 180mm x 200mm | Drawing: 60mm x 80mm
ROSMARY MARTIN (TRUTER) Sacred ibis walking| Pen and ink, framed behind glass Frame: 180mm x 200mm | Drawing: 60mm x 80mm
CAITLIN GREENBERG Matric 2005 BIOGRAPHY - Caitlin Greenberg (b.1987) is a lecturer specialising in glass art and design in the Department of Fine and Studio Art at the Tshwane University of Technology. She holds a Masters Degree (cum laude) from the same ins tu on. Her research focuses on the metaphors and archetypes of art glass. Her recent art prac ce explores the glass medium as an expression of the shadow. ARTIST’S STATEMENT = Glass is a meless lightemi ng medium that has always shared an in mate rela onship with luxury. The rela onship leans towards the saintly. The perpetuity of glass is metaphorical of society's collec ve archetype, the shadow. The shadow is an inherent aspect of humanity and has remained unchanged from the prehistoric era to the current state of humanity. Glass is equated with the darker shadowy side of humanity, no longer having a saintly status but being symbolic of fragile, dangerous memories of an untouched personal space where suppressed ins ncts could/did arise from shadows and reflec ons. Archival Thoughts, 2021 Hand blown Cristalica Glass 40 cm x 22 cm x 125 cm
CAITLIN GREENBERG Unspoken Thoughts, 2021 | 2:57 minutes, Digital video | S ll from digital video
SARA JOSEPH (NOCHÉ) Matric 2000 and Service to the school 2007-2012 BIOGRAPHY - Recently, I have begun to create works which are mostly light hearted, fun and less conceptual. My subject ma er as well as the colours that I prefer to use are bright and cheerful. This small collec on of work revolves around the theme of Summer. This theme represents a me of happiness, freedom, relaxa on and idleness, holidays filled with long warm days spent outside and in the water, and a happy me to spend with family and friends. I have tried to capture this season with different imagery that evokes ideas of this me of the year. I have looked at the works of David Hockney as well as Edward Hopper as an influence. I have created a bit of a vintage feel with the few figures that are represented, which reminded me of the figures that Hopper o en incorporated into his works. The vintage feel is to bring a bit of nostalgia to the works as one would reminisce about long summer holidays and family me. I have used acrylic paint and bright, radiant colours to reiterate the joyful feeling of summer me in the works. The paint swatches on which they are painted, were used to add a bit of interest, and give the pain ngs an extra layer of intensity, giving them a vibrant feel. The flat colours contrast with the brushstrokes which I feel adds some interest to the work.
Aqua Pool, 2021 Acrylic on cardboard (paint swatches) 13.5 cm x 18.5 cm (unframed) | 27 cm x 21.5 cm (framed) SARA JOSEPH (NOCHÉ) Fuscia Pink, 2021 Acrylic on cardboard (paint swatches) 13.5 cm x 18.5 cm (unframed) | 27 cm x 21.5 cm (framed)
SARA JOSEPH (NOCHÉ) Moon Rose, 2021 Acrylic on cardboard (paint swatches) 13.5 cm x 18.5 cm (unframed) | 27 cm x 21.5 cm (framed)
Pris ne Blue, 2021 Acrylic on cardboard (paint swatches) 13.5 cm x 18.5 cm (unframed) | 27 cm x 21.5 cm (framed) SARA JOSEPH (NOCHÉ)
SAARAH BEGG Matric 2015 BIOGRAPHY - Saarah Begg is a mul -disciplinary ar st whose subject ma er focuses on her experience as a young muslim woman in post-apartheid South Africa. Her work expresses the challenges of naviga ng through secular socie es as a muslim and an ar st. Crea ng stories enable her to understand her place in the world. One of her characteris cs as an ar st is the ability to create narra ves within her work that serves as a vehicle for self-reflec on and explora on. Her work becomes her visual diary, chronicling her experiences and emo ons as she navigates the intersec on of her Cape Malay heritage and the challenges of growing up in secular surroundings. Saarah invites us to explore, ques on and appreciate the mul -faceted world of Islam and the diverse cultural tapestry of South Africa through the lens of her own narra ve. Saarah Begg finished her BTech qualifica on in Fine and Applied Arts in 2019 and is currently engaged with her Masters degree in Arts and Design and part me-lectures at Tshwane University of Technology in the Glass art department. Her choice of medium is currently an explora on of photography, drawing, pain ng, ceramics, and glass art. The CBD and Me, 2020 | Print | 54 x 41 cm
SAARAH BEGG The Ba le in 'Braam', 2020 | Print | 54 x 41 cm
SUE HATTON BIOGRAPHY - In cra ing my bespoke planters, my crea ve journey is deeply rooted in the art of transforming clay into vessels inspired by the essence of nature. My ar s c vision is a fusion of texture and form, drawing inspira on from the rugged elegance of the natural world. Through me culous hand building, my preferred technique being coiling, I breathe life into the clay, shaping it into vessels that echo the delicate intricacies of the earth's textures. Each piece is a testament to the harmony between raw, organic forms and man-made ar stry, resembling a protec ve "suit of armour." The choice of u lising found objects for texturing serves as a cornerstone for my ar s c expression. These textures, akin to the subtle brushstrokes of nature, imbue my planters with a unique character, embodying the meless allure of aged ironstone, the warmth of red river rocks, the weathered grace of ancient pa naed copper, the depth of charcoal slate, and the mystery of black andesite origina ng from volcanic rock. On three of the planters, I further accentuate the "armoured" aesthe c, by carefully selec ng glazes that delicately break over the intricate textures, enhancing the rugged yet refined look. Conversely, for the remaining two planters, I opt for opaquer glazes that bestow a smoother, more subdued appearance, resona ng with the elegance of nature's darker shades. My philosophy is rooted in the belief that art should harmoniously blend with our surroundings, to effortlessly bring the beauty of the outdoors into our homes. Each bespoke clay body I create is a tribute to the subtle es of nature, a canvas upon which the hues and textures of our environment find a tranquil, purposeful abode. Through these planters, I aim to invite nature's serene hues into your habitat by cra ing vessels that embody both beauty and func onality, enriching your living space with a touch of the natural world.
SUE HATTON From le to right – Large Ironstone planter (height = 25 cm, diameter = 25 cm), Large River Rock planter (height = 22 cm, diameter = 25 cm), Ancient Copper planter (height = 17,5 cm, diameter = 18,5 cm), Medium Palladium planter (height = 17,5 cm, diameter = 19,5 cm), Small Andesite planter (height = 12 cm, diameter = 14 cm)
TRUDY TRUNER Service to the school 1998 - 2008 My work pays homage to the elementary vessel. Whether it's a bowl, urn or pot, vessels are amongst the oldest human inven ons. It was invented to be prac cal, to hold items such as grain and water. Now, almost 2000 years later, vessels s ll serve the same purpose. It is, however, the aesthe c quali es of vessels that I was drawn to and that inspired me to paint the series of vessels. While making a pot, it undergoes severe processes, like baking in a kiln to preserve and strengthen the pot, and to bring out its real beauty. Similarly, human suffering strengthens the individual and o en brings out great quali es in a person. Just like human beings and plants show their real beauty and thrive in the light, vessels show us their special unique beauty and quali es in the light and have light reflec ng on it. For beauty and inner quali es to be visible, Light is required. Vessel VII | Acrylic on Canvas | 260 cm x 260 cm
Vessel IV | Acrylic on Canvas | 210 cm x 270 cm TRUDY TRUNER
Vessel II | Acrylic in Canvas | 280 cm x 280 cm TRUDY TRUNER
S ll Life with Vessels I | Acrylic on Canvas | 350 cm x 260 cm TRUDY TRUNER
MELISSA NAUDE Matric 2014 Illusion Sterling Silver, 9ct gold, paint and resin 24 mm diameter Serendipity Sterling Silver, 9ct gold, paint and resin 24 mm diameter
MELISSA NAUDE Say my Name Sterling Silver, 9ct gold, paint and resin 23 mm x 11mm Moth Earrings Sterling Silver 20 mm x 15mm
ELIZNA VAN NIEKERK Service to the school current ARTIST’S STATEMENT - This set of sculptures represents the no on of wan ng and wai ng in limbo for unmet desires or unfulfilled dreams. These starved, barren, faceless figures become hollow vessels that embody universal human experiences of desola on. These figures also represent empty cocoons as evidence of rebirth. Although these figures are hollow and seem light, they are heavy because of the choice of material used. This physical dichotomy also translates in the meaning of the works; that things are not always as they seem.
ELIZNA VAN NIEKERK Wan ng, 2019 | 12 x 6 x 6 cm & 13 x 5 x 6 cm | bronze
JEANTELLE BARRATT Service to the school current ARTIST’S STATEMENT - Die Stamvrou is inspired by the woman in all of us. Even though we are different; when one looks at our religion, culture, beliefs, looks or how we dress, we s ll have a commonality, we are connected by our roots, we are woman, we are one, down to our womanhood, our adornments, our origins, and our uniqueness. We play a big role in the society that we live in, no ma er where we are from or what we stand for. Even though there are many roles in society as a daughter, sister, friend, or mother. No ma er how big or small the role, many of us know that we have a very important role to play in society. The reality is that the woman who follows the crowd will usually go no further than the crowd, but the woman who walks alone is likely to find herself in places no one has ever been before. In other words, keep one seeking and finding your true self. These cyanotype prints, which reflects in the primary color blue. The reasoning behind the color, is to show that as woman we are a primary color and that it also represents the color of the sky and the sea and is associated with open spaces, freedom, intui on, imagina on, inspira on, and sensi vity. Blue also represents meanings of depth, trust, loyalty, sincerity, wisdom, confidence, stability, faith, and intelligence. Which to me can be associated to our woman of today and the future.
JEANTELLE BARRATT Die Stamvrou #1 Cyanotype on Fabriano paper 16,5 cm x 28,8 cm, 2022 Die Stamvrou #2 yanotype on Fabriano paper 15,2 cm x 28,6 cm, 2022
JACQUELINE GREENBERG (SEM) Matric 1981 and Service to the school 2003 - 2022 ARTIST’S STATEMENT - In my jewelry work, I find inspira on in the subtle nuances of human interac ons and the cap va ng stories etched on the faces of people I encounter. Each piece I create is a testament to the rich tapestry of emo ons, experiences, and expressions that define us as individuals. Observing people closely, I am fascinated by the way their eyes light up with joy, the graceful curve of a smile, or the quiet strength reflected in a determined gaze. These observa ons serve as my crea ve muse, guiding my hands to cra intricate designs that capture the essence of these moments. Through my jewelry, I aim to immortalize the beauty of these flee ng encounters and the unspoken connec ons that bind us all. Every piece I create is a tribute to the diverse personali es and unique stories that shape our world. I me culously translate these observa ons into wearable art, using a blend of tradi onal cra smanship and contemporary techniques. Each bead, each metalwork, and every delicate detail is infused with the spirit of the people who have inspired me, resul ng in jewelry that resonates with both elegance and authen city. My work is a celebra on of humanity, an explora on of the profound impact that even the briefest encounters can have on our lives. Through my jewelry, I invite others to join me in this explora on, to embrace the beauty of human connec on, and to carry a piece of these meaningful moments with them, wherever they go. Yoko Wood and Plas c Size 170 x145mm
JACQUELINE GREENBERG (SEM) Tji Wara Sterling silver cu lefish cast 80 x 40mm Wilna Sterling silver Copper with pa na 170 x 130 mm Emily, 2023 Brushed Brass 40.4 x30 mm
MEGAN KRUGER Service to the school current BIOGRAPHY - I have always had a passion for the Arts. From matricula ng with a dis nc on for Visual Art, earning my BA Fine Art Degree from The University of Pretoria, comple ng my Post Graduate Cer ficate in Educa on with an average of 85%, to now working at Pretoria High School for Girls. Art has been in my life for as long as I can remember, and pursuing a career in the Art Educa on field is the biggest dream come true. Working at a pres gious school with such deep enthusiasm for the Arts and an advanced Art Centre offering mul ple disciplines, gives me the opportunity to con nue my voca on and help shape the minds of the future. Visual Art is impera ve to the lives of all as it teaches respect, resilience, perseverance, and gives insight into diverse perspec ves. My work deals with what it means to be a woman in our current society, challenging the norms and encouraging conversa ons about the conven ons, by embracing your individuality. I am honoured to be part of the PHSG community and be part of the legacy of working in hope.
MEGAN KRUGER “Gurl”, 2023 | Glazed Ceramic | 110mm x 100mm x 100mm
MEGAN KRUGER “Imperfectly Perfect” , 2023 | Air Drying Clay | 100mm x 80mm x 240mm
MEGAN KRUGER “Gender Construc ons”, 2020 | Perspex and Acrylic Paint | 660mm x 5mm x 400mm