artists

Sunette L. Viljoen’s (1985, South-Africa) precise sculptural approach incorporates the specificity of materiality, the unaccounted for pockets of merging histories, and the pedagogical systems of colonially-founded institutions to both deconstruct and reimagine the possibilities of objects without completely erasing their histories. Working with framing, propping, and reshaping, she provides a liminal space for viewers to enter to experience sculpture positionality differently. She plays within the reality of knowing that the conditions surrounding objects play a pivotal role in how these objects will be maintained and lauded or destroyed and repressed throughout history. Her process is informed by this relationship, and also a general awareness of postcolonial theory, museum archives, movement within space, and the fragility of language.

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