Walking in their footsteps: an exhibition about Movement, displacement and Identity.
By: Kimaya Pinto
The Collective Makhanda, a group of incredibly talented artists from different backgrounds and walks of life, came together to create an exhibition that not only serves the artists but the community at large. I had the honour and privilege of attending this exhibition on the 22nd of September 2026. I was taken aback by the sheer number of supporters who came to show their support for the art and the initiative behind it. This exhibition is a beautiful example of the intersection between art and philanthropy: fostering community for art lovers who need more accessible, alternative art spaces and caring for people within the community who are in need.
“When I conceptualised the collective, I wanted a diverse group of friends, people from all perspectives, all backgrounds, all identities to come together and say something about our contemporary existence.” – Lulutho Madolo, member of the Collective.
The exhibition displayed paintings from the numerous artists within the collective, as well as an astonishing shoe installation made from shoes that have been donated by the local community to Food4Futures – Ithemba le Kamva, a nonprofit organisation in Makhanda, run by Mama Mary, whose focus is on alleviating hunger and meeting the needs of the local community. Food4Futures runs food drives and clothing and bedding donation drives, which are distributed to those in the community who need them. Members of the collective include Jared, Hannah, Rosemary, Lulu, Luka, Shalom, Don Tan, Mook Lion, and Farron. The exhibition included a diverse display of media such as paintings, sculpture, and live performances, including the lively Dave Knowles, who created an exciting musical ambience, and powerful spoken-word poetry performed by Ron. The event partnered with Dukes Fire Foods, a popular restaurant known for its grill, Gatsby’s and incredible ambience. Dukes has been an active supporter of the art scene, backing local muralists and providing spaces for events like this very exhibition.
The exhibition focused on the themes of movement, displacement and identity, a very pertinent conversation to have in light of the current political climate in South Africa. The conversation of “who belongs here” and “who doesn’t” was illuminated by the strong imagery in these artworks. An interview with Juanito (Bagels) Featherstone about his artwork highlighted the theme of borders. “I use bricks and fences to explore this idea of how to enforce boundaries. What are we, what are we trying to keep out, or what are we trying to border?” He described his process as “continuous” and “intuitive”, constantly working and reworking on his artworks to convey the intended message accurately. He makes use of symbolism in his work to create an unsettling, unwelcoming atmosphere within his artwork, “…the dog with the fence, you have this loyal animal that will defend your yard at all costs. It's the symbolism of loyalty to where you're at, that's the only place you can be from. It's this idea of also how we've been treating foreigners with the migration, because it is about how bodies are being handled, boxed in and shipped out. handled like cargo and not like human beings.”
The use of wall or fence imagery can also be seen in Jared Erasmus’s work, a strikingly simple composition of an empty pink “flesh tint” pool with a fence in the background, with a heavy commentary on not simply physical migration but what he describes as an “economic migration” in South Africa. The space appears almost liminal, as if people should be interacting with it, but the viewer gets an unsettling feeling upon realising that there aren’t. “If you notice at the back, there's a brick wall, which is a signifier of things being walled in. Especially if you think about the suburban lifestyle, everybody has got walls up, sometimes even private security driving around the neighbourhood. It's this thing of securitising your own privilege in some spaces to some degree. That then becomes a matter of violence, protecting something which is your own wealth, but it's also your own guilt with regards to how much you know, you have, and how much everybody else doesn't have.”
My personal favourite artwork out of the collection is a raw and honest depiction of the loss and grief of displacement by Hannah Currin. This artwork offers a more literal interpretation of the theme of migration and displacement, depicting a vulnerable moment that humanises the people involved in such situations and the aftermath of brutality. The painting depicts a mother whose face has been blocked out with white paint, embracing a young child. It is an intimate moment that invokes the feeling that the pair will not be reunited. The child looks directly at the viewer, daring them to observe the devastating scene.
The mother's head is covered in a hijab, indicative of her faith and speaks towards the greater issue of displacement in predominantly Muslim countries like Sudan, Syria, Palestine, Lebanon, Yemen, Somalia, and Iran, to name a few. In many of these countries, families are separated, killed and displaced, with survivors seeking refuge in countries like South Africa and bordering countries. Women and children are disproportionately affected by wars and displacement, with nearly 120 million people displaced worldwide, half of whom are women. Displaced women face a higher risk of gender-based violence, psychological trauma and asylum seekers experience an 80% chance of female genital mutilation. This artwork was incredibly sobering and moving, truly speaking to the exhibition's theme.
The energy of the overall exhibition was incredibly moving, with the collective successfully creating an alternative art space that made art more accessible to the broader Makhanda community beyond the traditional gallery system. The space was vibrant and echoing with the buzz of excited chatter and live music that was incredibly inviting. The venue was beautifully arranged, with each room dedicated to a group of artworks, and the massive shoe installation inviting attendees to the backyard, where the live performances and seating area were located. The sheer scale of the installation demonstrates how proactive the Makhanda community was in donating to Food4Futures, and this impact will be felt not only during the two to three nights the exhibition was open, but for a long time afterwards, with the donations reaching those in the community who need them most. For those fortunate enough to catch the exhibition before the 24th of September 2026, the viewing experience and a new perspective will linger long after we leave.
Article Edited by: Munei Zoe Mbedzi
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