Projects
Karoo Origins Fossil Centre
Fancy Horse Studios
June 2023 - April 2025
Preparing to develop and produce the interiors of a bespoke boutique museum in the heart of the Karoo desert was an exciting and challenging endeavour. The project aimed to highlight the rich paleontological heritage of Graaff-Reinet, showcasing the private collection of the Rubidge family, which had been instrumental in bringing global attention to the region's prehistoric treasures.
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The museum's concept was rooted in the display of the Rubidge Collection, discovered in the areas surrounding Graaff Reinet, offering visitors an immersive experience into the ancient world that once thrived here. Being led by the science of the palaeontologist Bruce Rubidge, Fancy Horse Studios sought to create interiors that not only displayed these artefacts but also told the stories of their discovery and significance.​
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Presenting delicate fossils necessitated the development of specialised display cases that offered protection while allowing for close viewing. Interactive elements were integrated to engage visitors of all ages. 2D animated sequences were produced to visualise large concepts such as Time and Extinction. A never before attempted 7 minute 3D animated waterhole sequence was produced to immerse the viewer in Graaff Reinet in the Permian era. The most up to date sculptural forms of these creatures are displayed on two dioramas. This forms the experiences that brought ancient creatures to life within the museum space.
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The isolation of the Karoo presented logistical hurdles, from transporting materials, shopfittings and finalised artworks to finding appropriate installers who could handle the scope of what was needed. Regular communication with suppliers and contractors was vital to navigate the challenges posed by the remote setting. I moved to Graaff Reinet for 3 months in order to oversee the details and problem solve in the space as needed.​​
All professional images are the property of Fancy Horse Studios and Karoo Origins. The images are used here only as an example of services provided
Echo Camp
White Desert
November 2023
Stepping off the plane and onto the Antarctic ice, I was hit by a silence so complete it felt like the world had stopped. Just endless white stretching in every direction, the air thin and sharp, carrying the kind of isolation you can feel in your bones. This was not only a remote job site, it was another planet. And our mission? To install Camp Echo, a cutting edge outpost inspired by space exploration, in one of the harshest environments on Earth.
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As project manager overseeing the installation of the Sky Pods, I had to be part logistics guru, part problem-solver, and part morale-keeper for a team working at the edge of their limits. Every element of Echo was designed for survival: sub-zero temperatures, brutal winds, and freeze-thaw cycles that could tear apart anything unprepared. The materials were pre-fabricated, flown in by jet, and once we landed, there were no second chances.
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Then came the real challenge: the ice itself. Unlike a normal construction site, where you can bolt things to solid ground, we were building on a living, shifting landscape. Sleds had to be engineered to keep the structures stable without permanently altering the environment. The goal? Sturdy yet temporary, a contradiction we had to solve in real time.
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When the first pod was finally secured, we all just stood there for a moment, taking it in. Against the ancient, untouched landscape, these sleek, futuristic structures looked like they belonged on Mars. We were creating something that had never existed before.
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Beyond the technical hurdles, Antarctica itself was an experience. The sun never set, days blurred into each other, and isolation took on a whole new meaning. It was exhilarating. It was humbling. We ran on a tight schedule: install, adjust, problem-solve, repeat for 28 days without break, all while keeping warm, eating well, and staying sharp. In a place like this, even the smallest comforts mattered. A shared meal, a joke over coffee, a moment of quiet awe, it all bonded us in ways that only extreme environments can.
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Antarctica leaves its mark on you, and Camp Echo will always stand as proof of what’s possible when vision, technology, and determination come together in one of the last true frontiers on Earth.
All professional images are the property of White Desert. The images are used here only as an example of services provided
iThongo by Andile Dyalvane
Southern Guild
2020
I had the privilege of navigating the intricate process of bringing this collection, iThongo by Andile Dyalvane to life, from its inception to its unveiling in three distinct locations: the rural homestead of Ngobozana, the Southern Guild gallery in Cape Town, and Friedman Benda Gallery in New York.
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One of the most complex logistical challenges of the project was the crating and transportation of these monumental pieces. Each artwork had to be carefully packed and shipped to the rural and remote part of the Eastern Cape, where they were installed in the kraal for a traditional blessing by Andile’s community. This was an essential step in honouring the ancestral connection that inspired the collection. After two days, the works had to be carefully re-crated and transported back to Cape Town for the official opening of Andile’s solo exhibition at Southern Guild.
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The journey didn’t end there. Once the Cape Town exhibition concluded, the pieces were re-crated once more and transported via ocean freight to New York for their opening at Friedman Benda Gallery. Given the number of times the works needed to be shipped and reinstalled, we had to completely rethink our crating system to ensure the reuse of these crates four times without compromising the safety of the artworks. Logistically, this was an incredible challenge - each crate had to be designed for durability, adaptability, and ease of handling while ensuring maximum protection for the sculptures.
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Finally, once the works were sold, they had to be re-crated once more for their final journey to buyers around the world. Coordinating the safe delivery of each piece to collectors, along with providing guidance on uncrating and installation, was a high-stakes process. The success of this multi-stage transportation effort was a testament to the meticulous planning, teamwork, and problem-solving that went into every aspect of the project.
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Looking back, iThongo a journey that reaffirmed the power of art as a bridge between the past and the present, between tradition and contemporary expression.
Andile Dyalvane’s work is a testament to this balance, and I am grateful to have played a part in sharing that story with the world.
All images and content related to the exhibition are the property of Southern Guild and the artist respectively. The images are used here only as an example of services provided
iLobola by Zizipho Poswa
Southern Guild
2020
iLobola was Zizipho’s debut solo exhibition. The collection featured 12 large-scale ceramic sculptures, each embodying the essence of lobola - the traditional practice in which a groom’s family gifts cattle to the bride’s family, a ritual that goes beyond transaction to signify the uniting of families, the building of relationships, and the honouring of ancestry.
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The technical and logistical challenges of the exhibition were as layered as the concept itself. Zizipho’s signature hand-coiled clay forms were monumental in scale, demanding careful planning from production through to installation. Adding to the complexity was the incorporation of cast bronze elements - marking the first time she had worked with this material. Coordinating the fabrication of these elements, ensuring their seamless integration with the ceramics, and managing the delicate transportation of these weighty sculptures required a strategic and hands-on approach.​
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Shipping large-scale ceramic sculptures, many combined with heavy cast bronze elements, posed a unique challenge. Each artwork had to be custom-crated with precision, ensuring that every curve and delicate surface was adequately protected against movement and external pressure. Working closely with experienced art handlers and international shippers, we developed a detailed strategy to safeguard the pieces in transit, accounting for climate variations, vibrations, and potential handling risks.
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Equally important was preparing the buyers for the uncrating and installation process. Each collector received a comprehensive guide detailing the proper steps for unpacking their sculpture, including recommended tools, handling precautions, and placement considerations. In some cases, we coordinated with professional art installers to ensure a seamless setup, particularly for the more intricate pieces requiring specialised support.
The goal was not just to deliver an artwork but to ensure it arrived in perfect condition and was installed in a way that honoured its presence and significance.​
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All images and content related to the exhibition are the property of Southern Guild and the artist respectively. The images are used here only as an example of services provided
Plastocene by Porky Hefer
Southern Guild
2020
Managing the production of this exhibition was an exercise in precision, problem-solving, and coordination across multiple service providers. From the moment the project began, my role as project manager was to ensure that every element of the exhibition came together seamlessly, balancing artistic integrity with the practicalities of fabrication, assembly, and global logistics.
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Plastocene – Marine Mutants From a Disposable World was Porky Hefer’s major new work, consisting of a series of large-scale handmade environments based upon imaginary sea creatures from a dystopian future he calls the “Plastocene.” The collection made its world premiere at the NGV Triennial at NGV International (National Gallery of Victoria) in Melbourne, Australia.
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The collection comprises of five seating environments: Buttpuss, a 14m wide x 3.6m high octopus constructed from giant hand-felted cigarette butts; Q-Tip, evolved from a cotton bud and drawing its reference from a hammerhead shark; Suckerfish, studded with 120 giant crocheted straws; Flat White, based on a disposable coffee cup; and Sabre Toothed Netfeesh, woven from off-cut marine rope.
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Hefer’s design process is rooted in collaboration, drawing on the skills and knowledge of the artisan groups around him. For this collection, he worked with the hands of more than 80 crafters across six studios: Ronel Jordaan Textiles, Streetwires, Mielie, Wolf & Maiden Creative Studio, M Clothing, and Leon at CXIXX, with African Karakul wool sponsored by Jonay Wool Carding. The entire project was co-produced by Southern Guild and will form part of NGV’s permanent collection.
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The scale and complexity of the pieces required working with a variety of artisans, manufacturers, and technical specialists. Each component had to be crafted to exact specifications, tested for stability, and finished to meet exhibition standards. Overseeing multiple service providers meant constant communication, troubleshooting, and quality control at every stage - making sure that deadlines were met without compromising the integrity of the work.
Before the artworks could be shipped to Australia, we had to develop a meticulous installation plan. Setting up the final pieces and testing different installation methods allowed us to refine our approach and document the process in detail. Every step - from the correct placement of each element to the tools required for assembly - was recorded so we could provide a comprehensive briefing to the gallerists in Australia. This ensured they had all the necessary information to successfully install the works in their new setting without our physical presence.
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Once the testing phase was complete, the breakdown and packing process began. Given the size of the pieces, crating was a major logistical challenge. Each crate had to be custom-built to accommodate the specific dimensions and weight of the works, while also ensuring they could withstand the long journey via ocean freight. Careful planning went into designing the crates for reusability, allowing them to be repurposed for storage or potential future transport.
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Watching the crates leave for Australia was the culmination of months of planning, collaboration, and hands-on problem-solving. The success of this exhibition was not just in the final presentation, but in the journey it took to get there - the seamless integration of artistry, engineering, and logistics.​
All images and content related to the exhibition are the property of Southern Guild and the artist respectively. The images are used here only as an example of services provided
Endangered By Porky Hefer
Southern Guild
2018
Stepping into the role of project manager midway through the production of Porky Hefer's "Endangered" collection was a daunting experience. The collection, commissioned by Southern Guild and SFA Advisory to benefit the Leonardo DiCaprio Foundation, featured larger-than-life seating pods depicting endangered species: an orangutan, a polar bear, a sloth, a blue whale, and a great white shark. Each piece was meticulously handcrafted using eco-friendly and recycled materials, reflecting the project's commitment to environmental sustainability.
The scale and complexity of these sculptures were unlike anything I had managed before. Each piece required collaboration with skilled artisans in Cape Town, utilising traditional techniques such as crocheting, felting, stitching, and embroidery. The tactile nature of the materials aimed to evoke a sense of empathy and connection to the real animals' plights.
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One of the significant challenges was coordinating the logistics to ensure these massive sculptures were safely transported to Design Miami/Basel, where they would be presented to some of the world's most discerning art collectors. The orangutan, for instance, was the largest and most complex to construct, demanding intricate planning to maintain its structural integrity during transit.
Collaborating with various artisan groups required immense coordination. Each group brought unique skills to the project, and it was essential to ensure that their contributions aligned seamlessly with Porky's vision. Regular updates, quality checks, and open communication channels were vital to maintain consistency and address any challenges promptly.
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As the exhibition date approached, overseeing the crating process became a critical task. Each sculpture's size and delicate craftsmanship necessitated custom-built crates designed to provide maximum protection. We conducted thorough risk assessments and contingency planning to mitigate potential issues during shipping.
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Upon arrival at Design Miami/Basel, the installation phase required precise execution. We had to ensure that each piece was displayed to highlight its artistic and thematic significance. The positive reception from the art community and the successful sales to prominent collectors validated the team's dedication and hard work.
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The production of the "Endangered" collection was a transformative experience. It underscored the importance of meticulous planning, effective communication, and unwavering commitment to artistic vision. The project's success not only raised awareness about endangered species but also showcased the power of collaborative craftsmanship in creating impactful art.
All images and content related to the exhibition are the property of Southern Guild and the artist respectively. The images are used here only as an example of services provided
Widening the Circle
Arts and Ubuntu Trust
2013 - 2016
Managing the logistics of the Ernest Mancoba Education Poster Project (EMEPP) required meticulous coordination and a deep appreciation for its cultural significance. More than just an exhibition, this initiative aimed to widen the circle of knowledge and artistic representation for marginalised communities. By bringing together legendary artists and educators, the project sought to reclaim and celebrate African artistic voices often sidelined in mainstream art institutions.
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The exhibition, titled "Widening the Circle: In the Spirit of Mancoba," travelled across South Africa, engaging communities through interactive workshops and curated displays. Hosted at venues such as UNISA in Pretoria, William Humphrey’s Gallery in Kimberley, and the Durban Art Gallery, the full exhibition showcased paintings, prints, masks, and storyboards created during the workshops. Smaller exhibitions at the Iziko Annexe Gallery in Cape Town and Emthonjeni Art Centre in Hamburg focused on documentary photographs capturing the artistic process. These exhibitions not only celebrated the creative output but also critiqued the systemic disinvestment in arts education for marginalized communities.
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Lionel Davis, in his opening speech, highlighted the decline of vital art institutions like the Rorke’s Drift Art and Craft Centre, the Community Arts Project (CAP), and the FUNDA Centre, which once provided accessible training to Black artists. Without such spaces, many aspiring artists lack the opportunity to develop their craft, further marginalizing African artistic traditions. The exhibition sought to address this exclusion by fostering artistic growth within local communities and ensuring their work was integrated into national artistic discourse. The title "Widening the Circle" symbolised not just the expansion of artistic representation but also a broader effort to create alternative trajectories for knowledge production beyond exclusionary mainstream galleries.​
All images and content related to the exhibition are the property of Arts and Ubuntu Trust and the artists respectively. The images are used here only as an example of services provided
TAC 5th National Congress
Treatment Action Campaign
21 - 22 October 2010
Coordinating the logistics for TAC’s 5th National Congress in 2010 was an immense challenge. We had to move nearly 300 voting delegates from seven provinces - some traveling from the most remote corners of the country - to Johannesburg’s Birchwood Conference Centre. Many activists came from communities where transport infrastructure was unreliable, which meant arranging multiple connecting taxis, buses, and even overnight stays along the way. We had to factor in everything: securing funding for travel costs, ensuring activists had proper accommodation, and managing last-minute complications like delayed transport or activists who had never flown before navigating an airport for the first time. Each person we brought to Congress represented a community on the frontline of the HIV/AIDS crisis, and ensuring their participation was a necessity.
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Once delegates arrived, the next challenge was keeping the Congress running smoothly. Activists, many of whom were living with HIV, needed proper nutrition and access to medication, which required coordination with local clinics and support teams. The days were long, with packed schedules of resolutions, debates, and elections. With people coming from such vastly different contexts - urban organisers from Gauteng debating alongside rural activists from Limpopo - we had to ensure that every voice was heard, and every logistical hurdle didn’t become a barrier to participation.
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Despite the strain, there were moments of triumph. When Health Minister Aaron Motsoaledi and Judge Edwin Cameron took the stage on the eve of the Congress, it felt like a validation of all the struggles TAC had endured. We weren’t just gathering for another meeting; we were witnessing the shift from a government of AIDS denialism to one that finally recognised the urgency of treatment access. As TAC launched its book, Fighting for Our Lives, and previewed a film on its history, there was a collective acknowledgment of how far we had come - from marching in the streets against a state that refused to act, to sitting in a room where those in power were now listening.
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But the fight was far from over. Resolutions passed during those two days reaffirmed that millions of people still needed treatment, that provincial health systems were failing, and that TAC had to continue mobilising. Bringing activists together was never just about getting them into a room - it was about building power, forging strategy, and reminding the government that people living with HIV could not be ignored.
