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The Art Effect

The #ArtInspires Series

1987 -



Charcoal on Paper

Themba Khumalo was born in 1987 in Soweto. Working from his studio in Johannesburg, he explores a number of different mediums in his work, including printmaking, charcoal drawings, and painting. Recently, he has been focused on using the idea of land to reflect on the social, political and spiritual landscape in South Africa today. Notably, Khumalo often uses coffee in his drawings in order to heighten the earth and soil tones.

Waiting for Food Parcels was produced as part of the Lockdown Collection, an art initiative founded in 2020 to capture South Africa’s historic COVID-19 lockdown and support the vulnerable artists fund. The lockdown has had an exacerbating effect on the already inequality-stricken landscape of South African society, and this is the sombre reality that Khumalo’s charcoal drawing reflects.

To an extent, Waiting for Food Parcels recalls Denis Farrell’s iconic photograph of winding queues of voters in Soweto in 1994, albeit without the resounding sense of optimism.

Instead of participating in a young, hopeful democracy, Khumalo’s figures are just trying to attain the bare necessities to survive another day. For the country’s poorest, COVID is just another in a long string of postponements for the promises of 1994.


1987 -

Pigmented inkjet print on paper


Jody Paulsen was born in 1987 in Cape Town, where he continues to live and work. He is most recognised for the frenetic energy and packed compositions of his enormous felt collages.

Paulsen’s work juxtaposes hypnotic patterns, corporate logos, stylised fruit, fragments of catchphrases, and incomparable pop culture savvy. His work is a reinvention of Pop Art’s engagement with desire, excess, and reproducibility, filtered through a distinctively queer, millennial lens and underscored with a self-aware sincerity. Unsurprisingly, his unique visual sensibilities have translated into the fashion world with equal success through his on-going collaboration with designer Keith Henning and their AKJP brand.


1971 -



Mixed fabric wall-hanging

Pippa Hetherington is a Cape Town-based photographer and visual artist. Born in 1971, she began her career in the television industry, working as an editor and freelance administrator, but has since become an independent photojournalist with a focus on human rights. In 2013, she co-founded Behind the Faces, a story-telling project, to authentically represent pan-African women in their own words and images. 

Stitch #1 forms part of ‘Cuttings 1820 – 2020’, a collaborative exhibition between Hetherington and the Keiskamma Art Project. Produced in 2020, the project reflects on the 200th anniversary of the 1820 British Settlers arriving in South Africa, occupying land on the southern bank of the Great Fish River in the Eastern Cape. It aims to consolidate the history of Hetherington’s British ancestry with that of the Xhosa women who comprise the Keiskamma Art Project. Centered on land disputes, the wounds of these parallel histories are literally joined through the stitching together of culturally distinctive textiles and photography to showcase the entwined, painful, and shared history of South Africa and its inhabitants.


1982 -



Digital print on archival paper

Nelson Makamo is a Johannesburg-based artist. Born in 1982 in the Limpopo province of South Africa, Makamo creates vibrant portraits set in African urbanized landscapes. His work moves across cultures and generations, aiming to portray everyday people immersed in their own private journeys to self-discovery while the contemporary world accelerates around them. Makamo tends to focus on portrayals of children – in particular rural youths from South Africa - who the artist believes are uniquely equipped to see the beauty in the world through an unjaded outlook of optimism and joy.

Visions of a limitless future perfectly captures these ideals, and it is no surprise that the work has become Nelson Makamo’s signature piece. It is internationally renowned for being featured on the cover for TIME Magazine’s 2019 ‘Optimists’ special issue, setting the tone for that edition’s focus on shifting our outlook on the world towards something more hopeful. Makamo’s 11-year-old cousin Mapule Maoto inspired the portrait of a resolute young child. The two have an agreement that he will pay for her studies if she agrees to model for his colourful paintings.


1993 -



Acrylic paint and collage on canvas

Teresa Kutala Firmino is a multimedia artist, working with paint, photography and performance. She was born in 1993 in Pomfret – a remote desert military town in North West Province – and is now based in Johannesburg. Firmino’s work aims to rewrite the prevailing prejudicial narratives of Africa’s history, merging the past and present to construct a new archive built on fresh perspectives and possibilities.

Firmino’s works always begin with the intent of telling a story. Her paintings often resemble a theatrical stage upon which archival imagery is collaged, layered, and reworked in order to ‘perform’ the story she has in mind. Firmino seeks to investigate the trauma that African people have experienced and continue to experience due to the vicious cycle of colonisation, civil wars and present-day obstacles. 

Central to this work is the floating portrait of Patrice Lumumba, the first Prime Minister of what is now the Democratic Republic of the Congo following independence in 1960. While his dripping red tie references his brutal execution, Firmino’s figures to the right salute him, promising to stand firm and keep on fighting for life, liberty and the pursuit of happiness in Africa.


1953 -



Inkjet Print on Hahnemule German Etching Paper

Penny Siopis is a South African visual artist of Greek heritage. She was born in 1953 in Vryburg, and lives in Cape Town. She is currently an Honorary Professor at the University of Cape Town’s Michaelis School of Fine Art.

Known for her paintings, installations, and films, Siopis embeds themes such as history, sexuality, race, memory, shame, trauma and violence in her work through the physical properties of her materials and a tension between figuration and abstraction. Siopis refers to this as the ‘poetics of vulnerability’.

After The Good Philosopher continues Siopis’s contrasting of the recognisable (the eyes in this case) with the free association of nonfigurative elements (the explosion of newspaper cuttings and ink and glue washes). The eyes resemble Man Ray’s famous 1932 photograph Les Larmes, which seemingly depicted a woman crying glass tears in a faux black and white film still. Siopis’s reference to that image seems to interrogate the aestheticizing of grief, and how it exists both as something intensely personal and as something experienced collectively through the news and unfolding events.


1992 -



Oil on tracing paper

Born in 1992, Ruby Swinney is a painter who currently lives and works in Cape Town. Her paintings and immersive installations transport the viewer to an ethereal realm populated by surreal faceless individuals and are seemingly locked into a perpetual state of twilight. These qualities are accentuated through her signature use of oil paint on tracing paper and silk. Swinney thins the oil to the point of liquidity, allowing her images to be easily wiped and blurred, creating a sense of haunting ambiance.

In The Dreamers, the viewer is presented with a curious ensemble of figures attempting to ascend a series of poles, which seem to stretch off indefinitely. As the title suggests, their heads are ‘in the clouds’, the implication being that they are all so blinkered by their own private fantasies and aspirations that none of them are present and aware of those around them.

By the same token, Swinney conveys the isolation and disconnect that can come with chasing dreams. The rawness of her figures’ hands suggests repeated failed attempts at reaching their goal, but – judging by the vigour of the dreamers on the left – they remain undeterred and resilient in their striving. It is the pursuit that drives them.


1981 -



Oil on canvas

Ilené Bothma was born in Port Elizabeth, South Africa. She received both her Bachelor of Arts in Fine Art & Master of Fine Arts (MFA) from Stellenbosch University. She has a second MFA from Northumbria University in the United Kingdom. Bothma works as a painter, sculptor, and photographer whose work explores her experiences with the contradictions & complexities of motherhood, domesticity, and assigned gender roles.

While Between Grief and High Delight recalls the art historical motif of the Madonna and Child, it is both a celebration & critique of the perceived merging of identities & loss of self that comes with being a mother. Bothma frankly reflects on the challenges posed by balancing her work as a practicing artist with the never-ending cycle of domestic responsibilities, while also embracing what she finds beautiful & unique about this relationship. The technical mastery of her painted depiction of the lace – simultaneously obscuring & revealing the self-portrait – questions the alleged distinction between what is considered art & crafts; the latter often derisively designated as the purview of ‘women’s work’.


1975 -



Photographic print

Marc Shoul was born in Port Elizabeth, South Africa and is currently based in Johannesburg. He is a photographer focused on portraiture and documentary photographs, capturing social issues in South Africa. His work affords the viewer a raw look into various subcultures in areas around South Africa, as well as a glimpse into distinct individuals through his Portraits series. Shoul’s primary interest is to use photography as a tool for discovering the things that make people tick.

Soup Kitchen comes from Shoul’s documentation of South Africa’s 2020 national lockdown in response to the COVID-19 pandemic. Focused on areas of Gauteng, Shoul was particularly interested in juxtaposing the intensity of the army and police units enforcing the lockdown’s regulations with the ways in which different sects of the general populace responded to them. This particular image captures the efforts of Baboo’s crew - a nonprofit humanitarian group specializing in food drives – towards providing hot soup to the residents of Booysens informal settlement.


1983 -



Prismacolour on coal-black paper

Linsey Levendall is a multidisciplinary creative originally from the Cape Flats of Cape Town. He currently resides in the small rural town of Saskatchewan, Canada, with his wife, kids, and two dogs. Growing up in the Cape Flats showed Levendall a world filled with nature and wildlife contrasted with corruption, human violence, and suffering. He chooses to pursue an optimistic outlook in his work instead of being entrenched in negativity.

Levendall describes his work as ‘mildly trippy’ due to the influence of dreams and subconscious thought as driving forces in his art. Each of his portraits is made up of hundreds of tiny patches of colour, creating multi-hued worlds within each character. His work is ever evolving, but he still finds himself attracted to styles such as Cubism, Surrealism and Pop Surrealism.

In Silence is typical of this otherworldly quality in Levendall’s work.  Here, the portrait is seemingly conjured from the ether through his meticulous use of Prismacolor artist pencils on Coal Black paper, bestowing the lustrous sheen of the face with an almost psychedelic quality


1955 -



Coffee-lift aquatint with drypoint

William Kentridge is world-renowned for the charcoal-sketched stop motion animated films he produced in the 1990s. He creates unique and distinct movement in his artworks by erasing and retouching characters for specific sequences. This phantasmic visual style informs and reflects the main themes of his work: South African socio-political history, colonial oppression, conflict, transience and memory.

It is worth noting that Kentridge’s parents were prominent anti-apartheid lawyers representing significant freedom fighters such as Albert Luthuli, Desmond Tutu and Nelson Mandela, as well as Steve Biko’s family during the inquest following Biko’s untimely death in 1977. These significant events shaped Kentridge’s upbringing, studies and overall work as an artist, filmmaker and theatre arts activist.

Old gods have retired is notable for being one of Kentridge’s first experiments with the ‘coffee lift’ etching process, a newer sustainable technique where coffee liquid is painted directly onto an etching plate. The fluidity of the coffee allows for Kentridge’s figures to take on a dynamic painterly quality in this work, recalling his acclaimed animation.





Gold Spray Paint on a hand brushed Acrylic base with hand applied splashes of Acrylic colour

Grafter is an anonymous street artist based in London since 2006. He paints murals on prominent but unloved public walls using a combination of stencils, spray paints and acrylics. Through these interventions in public space, he aims to provide an unexpected distraction to those who encounter them, offering temporary reprieve from the stresses of modern life. Grafter also produces commercial work that has been displayed in numerous galleries, and has held sold-out shows internationally. He first gained substantial recognition for his 2008 work Splash.

As with that acclaimed earlier work, Bomb It first appeared on a doorway in the streets of London before being released as a series of limited edition prints. While the stencilled boy is consistent throughout the entire print run, the explosion of colours is hand-painted with thick acrylics and is unique to each edition. The freeform burst of colour speaks to the exhilaration of creative expression. Due to health issues, he has not produced a new release since 2016, but remains a prominent feature at auction houses and galleries worldwide.


1973 -



Mixed media on canvas

Dion Cupido was born in Mitchells Plain, South Africa. Cupido is primarily a self-taught artist, who discovered his talent for art while helping a friend with a school project in 1990. He initially began to explore his creativity through graffiti on walls in the Cape Flats. However, he quickly progressed from there to having his first exhibition of paintings in 1998. In 2003, he joined the Arts & Media Access Centre’s (AMAC) professional development program, where he won the Truworths AMAC Academy of the Visual Arts award. Cupido has held several solo exhibitions through Worldart in Cape Town.

Street art is still heavily influential in his work; however, it is mixed with planned studio-produced portraits that he calls ‘African-pop portraiture’. Cupido came to realise that his work can trigger thoughts and memories, which he now explores with his combination of abstraction and portraiture. There is a sense of palimpsest in his works, the vibrant expressionism of his faces juxtaposed with the distinctly urban edge of the overlaid graffiti script.


1980 -



Mixed media on Canvas

Paul Senyol is a Cape Town-based abstract artist. Although he received no formal artistic training, he was initially inspired to create artworks by skateboarding magazines he read as a teenager. This prompted him to explore ‘free art’ in the early 2000s, exhibiting on street corners to unexpected audiences. He frequently draws from the graphic design found in various album covers, library books, magazine layouts, and illustrations to create his distinctive aesthetic.

Inspired by artists such as Andy Warhol, Jean-Michael Basquiat, and Henri Matisse, Senyol’s work celebrates details of everyday life through colour, line, and form. He makes use of diverse mediums such as acrylics, pastels, ink, pencils, and spray paint to create an interesting mix of textures and tones for his two-dimensional surfaces; which also range in variety from canvas to found objects.

Paintings such as Manifesto aim to translate the emotional experience of urban and natural spaces into spontaneous arrangements of vividly-coloured shapes and forms.


1993 -



Oil on Canvas 

Cape Town-based artist Fanie Buys was born in 1993 in the quaint seaside town of Gansbaai in the Western Cape. He attended the Michaelis School of Fine Art and graduated with a distinction in studio work in 2016. His body of work received the prestigious Simon Gerson Award and the Judy Steinberg Award for Painting.

Imbued with a sharp, frequently camp sense of humour, Buys’s work is distinctive for its pronounced brushstrokes and slightly darkened colour pallet; one that could perhaps be described as ‘polaroid’.

The title of this painting, If This Was An Aesthetic It Would Be Called:  "White Dog Pooh", exemplifies the acerbic, but frequently self-deprecating humour that pervades Buys’s work. The painting depicts the exterior of a block of flats in Rondebosch where the artist lived for a time. Buys contrasts a beautifully Impressionist handling of the interplay of light in the building’s staircases with a playful jab at the stucco finish on the walls, likening it to weathered dog excrement. In a broader sense, his fascination lies in the enduring peculiarity of suburban apartment complexes that are well past their point of being in vogue.


1972 -



Inkjet print on cotton fibre-based paper, Baryta coated

Zanele Muholi is a Johannesburg-based artist and self-proclaimed visual activist. They are one of the most celebrated photographers working today, receiving numerous honours and awards, including an honorary professorship from the University of the Arts Bremen in Germany, and a knighthood from the French Embassy.

Muholi explores what it means to be black and queer in contemporary South Africa by documenting members of these marginalized communities. Their work not only confronts how the viewer sees representations of blackness, the female body, and queer sexuality but also showcases the political issues and violence surrounding these topics.

Isililo XX exemplifies their recent turn towards self-portraiture as a means of using self-representation to defiantly critique the viewer’s gaze. This stream of Muholi’s work began with the acclaimed 2015 exhibition ‘Somnyama Ngonyama’ (meaning ‘Hail, the Dark Lioness’), which is still touring internationally as of 2021.





Acrylic on canvas

Bikis & Alda is the collaborative working name of Alda and Sylvain (Bikis) Bikindou. The couple arrived in South Africa in 2000, having fled conflicts in their home country, the Republic of the Congo, six months earlier. They managed to support themselves during this journey through selling their paintings, and continued to do so when they reached Cape Town. Thabi Art Fusion, their gallery at the V&A Waterfront Watershed has subsequently become a mainstay.

Initially Alda was responsible for the paintings and Sylvain (known as Bikis) would handle sales. However, watching his wife joyfully at work inspired him to pick up the paintbrush himself. Working in tandem, the couple has since developed a unique and fluid method of collaboration, allowing them to be prolific in their output.

The Rainbow Nation is a large abstract painting that celebrates the hope and elation of South Africa’s first democratic election in 1994. Typical of the pair’s work, there is a celebratory


1870 - 1952



Oil on Board

Sydney Taylor is a painter known for his landscapes and depictions of Cape homesteads. He was born in London in 1870 and died in Cape Town in 1952. Studying at the Royal College of Art in London, he came to South Africa as an artist-correspondent, documenting the Anglo-Boer War. Taylor was the president of the South African Society of Artists in 1932.

Taylor was fond of creating romantic Impressionist landscapes with clouds hanging over Cape mountain ranges in oil, watercolour, and pastels.  In contrast to the usual tranquillity of his scenes however, in this painting the lingering clouds of a recent storm largely obscure the blue sky. The thatched homesteads are dwarfed by these clouds, giving the storm a sense of domineering natural might, accompanied with a sense of relief that the worst has passed and sky is peering through. The painterly handling of the emergence of light on the landscape below is particularly effective.


1993 -

Oil on canvas

Paul Wallington was born in Johannesburg in 1993 and raised in Plettenberg Bay. He completed his final year at the Michaelis School of Fine Art in Cape Town in 2019. Wallington’s work is strongly influenced by painters such as Francis Bacon and Francisco Goya, melding these formal inspirations with the ideological terrain of writers like J.M. Coetzee and Peter Anderson. He is interested in the possibility of creating worlds through paint where ideas can become tangible.

Figure from Sea derives from a body of work where Wallington was particularly fascinated with the corporeal properties of oil paint. For him, the appearance of wetness in oil paint causes it to seem more bodily than is the case with other mediums. Consequently, oil paintings are uniquely able to draw in the viewer on an empathetic, visceral level. In this portrait, the more abstracted, rougher sections initially come across as wounds or scars, engaging the viewer’s curiosity and enticing deeper contemplation about the visual language of painterly representation.


1993 -

Oil on Canvas

Cape Town-based artist Fanie Buys was born in 1993 in the quaint seaside town of Gansbaai in the Western Cape. He attended the Michaelis School of Fine Art and graduated with a distinction in studio work in 2016. His body of work received the prestigious Simon Gerson Award and the Judy Steinberg Award for Painting.

Imbued with a sharp, frequently camp sense of humour, Buys’s work is distinctive for its pronounced brushstrokes and slightly darkened colour pallet; one that could perhaps be described as ‘polaroid’. He primarily works in a figurative style, but is fascinated by the ways in which painting a scene abstracts and extrapolates the image away from simply being a reproduction. Instead it projects something of the artist’s internal response to the subject matter. 

Breaking away from his established iconography of family Christmas photographs and Diana, Princess of Wales, Parquet Parvenu instead depicts the façade of a block of flats in Rondebosch where Buys lived for a time. As with his familial portraiture, Buys’s painting here serves to highlight the uncanny peculiarity that underlies the building’s ‘mediocre steadfastness’ (to quote the artist).

1971 -



Oil on Canvas

Born in Tzaneen in 1971, Duncan Stewart is a Gqeberha–based artist working predominantly in painting, drawing, and sculpture. Besides his art practice, he is dedicated to coaching people on how to access and develop their inherent creativity. Stewart describes himself as a ‘holy discontent’ in reference to the incorrigible curiosity – rooted in his faith– that fuels the diversity and scope of his creative output.

Produced in the midst of a contemplative period during South Africa’s initial wave of COVID-19 infections, The Pied Piper is a light-hearted musing on the importance of the small things that are taken for granted until they are taken away. The title draws a parallel between the enticing magic pipe of the fairy tale character and the unmistakable bells used by ice cream vendors to announce their presence. Typical of Stewart’s paintings, the central figure emerges as a beacon amongst the warm tones and kinetic abstraction of the crowded beachfront.


1987 -




Isaac Zavale is an artist, muralist, and printmaker who lives and works in Johannesburg. Born in 1987 in Maputo, Mozambique, Zavale’s parents came to Johannesburg when the artist was two. The city has subsequently proven to be a dominant feature in his works, focusing on the social and political issues in Johannesburg and the broader continent, as seen through the lens of a Mozambican immigrant. In 2013, he partnered with Minenkulu Ngoyi to form the prolific Alphabet Zoo Collective, running zine and printmaking projects throughout South Africa.

General Cock is a prime example of Isaac Zavale's meticulous linocut abilities – an intricate array of extremely fine cuts makes up the remarkable details of the titular fowl – as well as his biting sense of humour. Zavale’s rooster struts about with chest-puffed bravado, but is ultimately cowardly, all too happy to incite violence and let others carry it out. The army helmet with the peace badge and bullets tucked into the band resembles that of Sergeant Joker in Full Metal Jacket, Stanley Kubrick’s acerbic portrait of the dehumanisation that drives the war machine. Coincidentally, ‘chickenfoot’ is a disparaging term for the peace symbol.


1909 - 2005



Watercolour on paper

Gregoire Johannes Boonzaier was a South African artist well known for his landscapes, portraits and still life paintings. Born in Cape Town in 1909, his distinctive visual style and strong social awareness pioneered a movement that became known as ‘Cape Impressionism’.

Boonzaier was one of the founders of the New Group, a collective aimed at rejecting the academicism and conservatism in South Africa in the late 1930s. During the course of his career, Boonzaier produced hundreds of paintings and drawings documenting District Six and the Malay Quarter (Bo-Kaap), and went on to hold more than 100 solo exhibitions.

Following a trip to Venice, Boonzaier produced a number of Venetian canal scenes during the 1970s. This work is fairly typical of that phase of his career, and includes a view of the Santa Maria della Salute Roman Catholic church, as seen from the canals. Completed in 1681, the church’s iconic dome quickly became emblematic of the city, and was famously depicted by artists such as J.M.W. Turner and John Singer Sargent. What is fascinating is how closely these Venetian scenes align with Boonzaier’s Impressionist depictions of mosques in District Six and the Malay Quarter.


"Art is the highest form of hope,” is a line first expressed by the German painter Gerhard Richter.

The parallels and debates of the blurring of art and advertising are endless. But what is certain is that both are a reflection of a society at any given time. It’s through this perspective that we view the role of art as important to inspiring, challenging and building creative and original thought.

The Saatchi brand is synonymous with contemporary art. Charles Saatchi is one of the most influential patrons of contemporary British art, from launching the careers of Damien Hirst and Marc Quinn, to opening the Saatchi Gallery in London, which today is one of the most visited art galleries in the world.

When we opened our doors more than a decade ago, we had the vision of building our own collection. But more importantly, as a business in the ‘creative industries’, we wanted to play a meaningful role in supporting young artists. Our growing collection represents various ideologies, social commentaries and perspectives from both South Africa and African artists.  And we are always looking for pieces that are challenging, interesting, inspiring and sometimes just beautiful to look at.

Outside of the collection, the agency’s commitment to art extends to it’s partnership, sponsorship and pro-bono work with the ZEITZ Museum of Contemporary Art Africa (ZEITZ MOCAA), constructed within the historic Grain Silo’s at the V&A Waterfront which was transformed by leading international architect Thomas Heatherwick.

The Museum houses the largest collection of contemporary African art in the world, and is a significant move to put African contemporary art onto the global stage. In addition to developing their advertising, marketing and communication – which included developing their full corporate identity – we sponsored the new media exhibition room.

Fueled by immense talent & originality, The M&C SAATCHI ABEL Contemporary Art Collection houses more than 120 pieces of work hanging across our Cape Town & Johannesburg campuses. Each piece is a masterclass in creativity - conceptually powerful & often containing important hard messages, but sublime and unexpected in its execution.

Maybe one day we’ll open our own gallery too.

But before that, do spend some time looking at the art on our walls.



Perspective Artwork - Gabrielle Weinstein. View Artwork

Danger Artwork - Michal KrugarView Artwork

Unogolide Artwork - Thandiwe MsebenziView Artwork

Bayeza Artwork - Wonder Buhle MbamboView Artwork

Specimen 9 Artwork - Luke KaplanView Artwork

The Free Girl Artwork - Claudette SchreudersView Artwork

The Good Shepherd 3 Artwork - Ignatius MokoneView Artwork

Tribute to the Fallen Artwork - Bambo SibiyaView Artwork

Jardin des Tuileries, Paris Artwork - Alastair WhittonView Artwork

Parquet Parvenu Artwork - Fanie Buys. View Artwork 

Figure from Sea Artwork - Paul Wallington. View Artwork

Storm Clearing Off, Western Province Artwork - Sydney Taylor. View Artwork  

Place Making Artwork - Jaco van Schalkwyk. View Artwork

The Rainbow Nation Artwork - Bikis & AldaView Artwork

Pennant Artwork - Teresa Kutala FirminoView Artwork

After The Good Philosopher Artwork - Penny SiopisView Artwork

The Dreamers Artwork - Ruby SwinneyView Artwork 

Between Grief and High Delight Artwork - Ilené BothmaView Artwork

Soup Kitchen Artwork - Marc ShoulView Artwork

In Silence Artwork - Linsey Levendall. View Artwork

Old Gods Have Retired Artwork - William KentridgeView Artwork

Bomb It Artwork - GrafterView Artwork

Distance Artwork - Dion Cupido. View Artwork

Manifesto Artwork - Paul Senyol. View Artwork

Isililo XX Artwork - Zanele MuholiView Artwork

Timekeeper 45 Artwork - Norman O'Flynn. View Artwork