Blue Heads (2018)

Reconfigure (2018)

Parts and Hybrids (2017)

Animal (2015 - 2016)

make up (2015 - 2016)

Climbers (2014 - 2016)

Black Bird, White Bird (2014 - 2016)

Tree Babies (2014 - 2016)

Non-Retinal Heads (2014)

Doppels (2014 - 2016)

Letters from Noordhoek (2013)

Breathe (2012 - 2013)

Memorystickwall (2011)

& Pooof ! (2010)

Unravelling... (2008)

Plastic (2000 - 2008)

Vessels (2005 - 2010)

Wordfry (2006)

Compost (1993 - 2000)

Mapula Project (1993 - 2000)


One or two ideas I draw from is Roland Barthes' idea that maintains the reader completes the artwork, claiming it as a text and that within the text there is "no heart, no kernal, no secret, no irreducible principle, nothing except the infinity of it's own envelopes". Julia Kristeva's discourse reconceives identity as situated within the female body as embracing sameness and difference present in the experience of carrying and giving birth. The maternal receptacle, can become the source and origin for meaning and identity. The idea of emptying out the mind and clearing space to make way for the new, always appeals to me. In my works, there is usually something to do with identity; as well as containers of meaning and objects of exchange.

Click thumbnails to view large-format.

For the love of it (2000) took over one and half years to embroider and represents a kind of visual diary for the year '99. The images have reference to Nieu bethesda; the wars happening such as Kosovo and Congolese wars. The Image of hope is the central flaming heart..

for the love of it (1999).
Thread on waste material.
1,50 x 75 cm.
Unisa Art Collection

Magic Garden carpet (1993) was a collaboration with the Mapula women in the winterveld.

Magic Garden Carpet 1993.
Mixed media, thread on cloth.
1,00 x 1,00m irregular.
In collaboration with: Rossinah Maepa, Antoinette du Plessis, Lizzie August and Rachel Mobokwema.
Unisa Art Collection

In Webworks (1998), it was also collaborative but here I drew out my own designs and the women embroidered these for me, bringing their own language into the contrasts, colour and interpretation. This was exhibited as part of the masters exhibition.

Webworks (1999)
Thread, cloth, perspex, nuts, bolts and fishline.
10 pieces various sizes.
In collaboration with: Doreen Mabuse, Bellina Baloyi, Rosinah Maepa, and Josephine Maluleka.
Private Collection, Germany.

Invisible Bonding (2000). In 2000 I co-curated the Cloth workers coalition exhibition at the Pretoria Window. Invisible bonding was the work made for that , 15 individual panels in see through perspex, nut and bolted so you could see through to the other panels that were suspended and overlapping. This was about memory and finding my own connections.

Invisible Bonding (2000).
Thread, fibre, nuts, bolts, vylene, perspex, fishline.
Each piece 30 x 45 cm.
Private Collection

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