Writing about process, projects, and the things I'm thinking about.
South African fashion has its own voice. From the editorial pages of GQ and Glamour to the streets of Braamfontein and Woodstock, there's a generation of designers, stylists, and image-makers building something that belongs entirely to this continent. I've been lucky to be part of it.
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Shot in Cape Town, 2022, with Thapelo M. There was no brief — just a window, late afternoon light, and the agreement to be still. What came back was something neither of us planned. She holds something back in this image, and that's what makes it work. I keep coming back to this photo. It changed how I think about portraits — the ones that stay with you aren't the ones that give everything away.
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Me and friends at AfrikaBurn out in the Tankwa Karoo. No gallery walls, no audience — just people making things together in the dust. The desert strips everything back to the exchange itself.
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My work comes from movement, texture, and expression — catching a moment in space and seeing how it translates through the hand, through material, onto a surface. That translation is what interests me. The gesture always carries something the eye alone can't hold.
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Taking Caboodle from screen to physical space. We exhibited the research, design process, and community outcomes at Stellenbosch University — showing people what an online platform built for intersectional queering actually looks like when you put it on a wall.
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Caboodle was an online platform and community I built during Covid in Cape Town. The core question was how interaction design can create safer, more inclusive digital spaces for intersectional queer communities. It started as my thesis at Stellenbosch and became a real project.
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There's a generation of creatives in South Africa right now reshaping what social spaces look and feel like. Pop-up galleries in Woodstock, concept stores in Braamfontein, underground club nights, studio residencies. The energy is real. When work is led by community instead of commerce, by instinct instead of trend — that's when it gets interesting. We're building the culture, not waiting for permission.
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The full academic thesis behind Caboodle — my research into how digital platforms can support intersectional queer identity, community, and safe social interaction in South Africa.
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Working with Sasha Olsen and Euroconnection has been one of the most important creative relationships for me. We've shot for Yummy Magazine and other international publications — always at the intersection of fashion, identity, and image-making. The conversation between us shapes the work more than any brief could.
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Not everything happens at the desk. Some of the best work comes after stepping away — walking barefoot on the sand, watching light move across the mountain, or just sitting still long enough for the noise to stop. I've learned that the moments I take to disconnect and reconnect with nature, with myself, with something bigger — those feed everything else. The best lines I've drawn came after hours of doing nothing.
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A series of ink portraits — each drawn in one sitting, no pencil underneath, no going back. Twelve faces on twelve sheets, shown as a grid. It started as daily practice and became something bigger. I was interested in how expression lives in the speed of the brush, how character comes from gesture rather than detail. Every face is someone I met. Every mark is the first attempt.
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An exhibition I did at Stellenbosch in 2020 — ink and charcoal drawings covering the gallery walls floor to ceiling. The work was about the human figure disfiguring reality, about how we change when everything around us is changing. 2020 was that year where nothing held its shape, and these drawings came from trying to process that.
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I covered an entire room in paper — floor, walls, ceiling — and handed people charcoal. No instructions, no rules. I wanted to see what happens when the whole space becomes a canvas and people just go for it. What came out of it was raw and collective. Strangers drawing next to each other, forgetting anyone was watching.
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