Ann-Marie Tully’s art is concerned with the lives of animals, the reciprocal relations of humans and non-humans, and the representation of animal beings.

The tendency of human beings to express themselves through the metaphoric and physical vehicle of animal beings is considered and disarticulated in this visual body of work including oil paintings, textiles and ceramics.

27 March - 02 May

'... there remains in the early twenty-first century a postcolonial whiteness struggling to come into being, or rather a number of post-empire, post mastery whiteness attempting to examine themselves in relation to histories of oppression and hegemony of their others in order to learn the difficult, never mastered skill that Heidegger used to call Mitsein - Being with' – Lopez

'BLEEK' encompasses a number of photographic series that sets out to interrogate the performance of white masculinity from different points of entry. Masochistic violence and self-interrogation are recurring themes in the body of work. Strydom is especially interested in the manner different traditions and contexts are embodied in particular power rituals.

The historically hegemonic position of whiteness makes it difficult to comprehend the notion of a marginal whiteness. The difficulty to articulate a non-hegemonic whiteness often leads to uncertainty and suspicion. A public questioning of whiteness may pose a dilemma since whiteness, even in a postcolonial context, retains its hegemonic status and prestige that might serve to perpetuate what Mohanty calls 'the white man as spectacle'.

This notion of whiteness as spectacle has led to the artist’s personal interest to examine and make visible the strategies used in the performance of postcolonial whiteness in the South African context.