Empathy as Data — a portrait practice defined
On basing ideas on real knowledge, and empathy as a source of understanding.
I prefer to work in an aesthetic, efficient environment with multiple projects running simultaneously, each in its own dedicated space. The balance between beauty and function keeps me grounded.
At any point the studio might hold a series of portraits in progress, a sculpture, a mould being made, watercolours and etchings being mounted, power tools, and an assortment of dangerous-looking chemicals — all of which serve their purpose before returning to what I can only describe as a very dense Tetris game.
For many years I dismissed inspiration as a factor, believing a workman’s ethic would serve better. I only noticed how fragile that ethic can be when I burnt out during South Africa’s extreme lockdown and couldn’t paint at all. Inspiration is now a treasured visitor. The writing collected here moves between the same territories as the work itself: process, philosophy, and the ideas that don’t fit on a canvas.
The current studio is in Pocitos, Montevideo, where I am setting up a new practice after relocating from South Africa in 2025.
On basing ideas on real knowledge, and empathy as a source of understanding.
Sanity is a practice of engagement with the world and with your own mind, even when you disagree with what you find there.
Process notes on casting a cement sculpture for the PPC Imaginarium competition, from failed moulds to a gold-leafed finalist.
Process notes on a large acrylic portrait painted during the Cape Town water crisis.
Professional biography, selected exhibitions, awards, and residencies.