Jardin des Plantes, 2020
Ink and Gouache on Drafting Film
1065 x 795 mm Framed

“My work is primarily autobiographical at the moment. I take pictures on my journals, and paint them when I get back to my studio. The imagery I have chosen to paint for A Hazy Shade of Winter all come from recent experiences during my winter residency in Paris.The Forest scenes are from a bouldering and hiking day-trip I took out to Fontainebleau with a group of strangers I met in an online French climbing forum. The Greenhouses and plants are all from visual research in Parisian greenhouses and gardens.”

- Adele Van Heerden

Oleander, 2020 | Ice Drift, 2015
Oil on paper
355 x 260 mm Framed | 310 x 225 mm Framed


The Sway Beneath, 2019
Watercolour monotype on calico
665 x 570 mm Framed

“I rely on distinctive stages to create a rhythm for making work. Preparing the plates, painting the plates and then printing all require different modes of working. I use these shifts to help maintain momentum in my practice and to identify areas to develop or refine further, so that one phase does not feel more advanced than another.”

- Amber Moir


Close-up cropped view:  ANDREW SUTHERLAND  Something in the Sky, 2020. Mixed media on canvas, 1400 x 900 mm. Framed.


Pools III, 2020 | Pools IV, 2020
Mixed media on canvas
1125 x 1025 mm Framed | 1025 x 1020 mm Framed

“In winter I find myself working shorter days in the studio as the natural light disappears far earlier. I spend more time drawing and researching and, in this way, winters are more of a brewery for ideas and a time to play and experiment. When the season change again, so do my practices and I’ll find myself working longer days in the studio once again. ”

- Andrew Sutherland


From left to right:
Wishful Thinking, 2020; Sunday Morning, 2020; Anti Body III, 2020.


From left to right:
Misgraced, 2020; Eye of the Beholder, 2020; Possibilities, 2020; Red Light Sunset, 2020; and Pancake, 2020.

“In winter, I find that my habits change. Everything slows down and becomes calmer. A mixture of soft pastels and dark, wet earthy colours usually find their way into my work.”

- Emma Nourse

Installation views of the gallery

“My mother gave me three stralitzia flowers from her garden. I arranged them with my collected grass tufts where they brighten up my space where I spend most mornings reading, the time of day when the light falls on them where they stand, lighting them up like fire. These inspired me to make this body of work. I looked for glimpses of the promises of nature in the confines of my immediate environment, I also reminisced about past adventures during isolation.”

- Heidi Fourie

Adaptation, 2020
Oil on board
635 x 455 mm Framed

Girls By Water II, 2020 | Girls by Water III, 2020
Digital archival print | Edition of 30
605 x 430 mm Framed | 430 x 310 mm Framed

“I love winter, I love the rain and the mist and the cold.  I also love summer and I find I miss the one season when I’m in the other. The theme inspired me to create images that felt warm and hazy, serving as a reminder that summer always comes.”

- Jade Klara


From left to right:
Shade, 2020; Fold, 2020; Frozen Fountain, 2020; and Pond, 2020.

“A couple of years ago I found a clay vessel that was underwater for a very long time, covered in barnacles and coral in a pottery shop in Cadaqués on the coast of Spain. This wonderful mysterious relic with all its natural colours and textures was just irresistible to paint, so it grew into what you see here. I wanted the painting to feel like a little treasure in its own right. An oil, pigment, linen and kiaat wood treasure.”

- Joh Del

Anfora de Mar II, 2020
Oil on linen board
420 x 315 mm Framed

Diana Vreeland's Red Room, 2020 | Winter Sun, 2020
Gouache on cotton paper
370 x 285 mm Framed | 385 x 285 mm Framed

Another Dream; This Time of The Desert, 2020
Escaping Through Spring Flowers, 2020
The Orange Trees, 2020

Reimagining Self I, II & III, 2020
Wool on fabric
640 x 590 mm Framed

Souvenir from Another Summer, 2020
Oil on board
480 x 630 mm Framed


Close-up cropped view:  KIRSTEN SIMS  In These Strange Times, 2020. Mixed media on board. 490 x 365 mm. Framed.


Way Back When, 2020 | Out and About, 2020 | Dingle Dangle, 2020
Mixed media on board
340 x 480 mm | 370 x 490 mm | 340 x 480 mm Framed

Sorry for the Late Reply, 2020
Mixed media on board
470 x 340 mm Framed

“In winter, I find it easier to be consistent with my practice. I can’t really explain it other than it’s a feeling I get, a tingling under the soles of my feet that something is about to happen. The wintery weather evokes a sense of mystery and excitement.”

- Laurinda Belcher

“I feel the most creative when I wake up on a winter morning and it is raining. I feel more inspired - I think it is the muted light and gentle sound of raindrops reminding me to be soft. I am all about seasons and I find that I am most inspired in the winter. In the other seasons I find that I am more a gatherer. Winter slows me down and it makes work with what I have collected.”

- Léne Ehlers

“My work definitely has a recurrent theme of that being an inspiration from nature and having a childlike curiosity. I combine that inspiration and create works by playing with intimate and magical worlds - both real and unreal - as a theme and work in miniature mainly.”

- Lili Probart

Pretty Pressed, 2020 | Over and Over and Over, 2020
Oil on board
160 x 120mm | 200 x 100 mm Framed

Stuck Together Pieces, 2020 | Through the Walls, 2020
Acrylic on canvas
430 x 330 mm Framed | 490 x 380 mm Framed

“A successful painting leaves a gap for the viewer to fill, leaves something to the imagination and holds a level of intrigue. My aim is always to work up to a point where there is energy in the painting, a push and pull between painting and viewer. I try to stop before this energy falls flat.”

- Mona Hauman

"I find a lot of inspiration in the season of autumn. Especially a Cape autumn. The colours are so vivid and there is a delicious feeling of change – a ‘moving inwards’ kind of change. The wind dies down along the coast and one is treated to the most breath-taking natural light and sunsets."

- Natasha Norman

Second Opinion, 2019
Ink and gouache on Fabriano, paper inlay
375 x 210 mm Framed

“I always have a sketch that I work from, this gives me a good idea of the composition and placement of elements within an artwork. I refer back to this sketch during the painting process, and when the sketch and the idea in my head more or less come together, then I know the work is finished.”

- Paul Senyol

The Revisionarist, 2020
Mixed media on canvas
1200 x 1000 mm Unframed


Mutuality, 2020
Mixed media on canvas
1300 x 1500 mm Unframed


Close-up cropped view:  TARA DEACON  The Dinner Party, 2020. Gouache and pencil on paper. 660 x 490 mm. Framed.


“Lately I have been intrigued by the atmosphere of winter nightfall and all the shades and hues of blues on buildings and trees after snowfall. There’s also something so comforting about seeing apartment windows light up against the winter night sky illuminating neighbours evening routines.”

- Tara Deacon

Spending the Night In, 2020
Gouache and pencil on paper
470 x 470 mm Framed

Neighbourhood Watch, 2020
Gouache and pencil on paper
660 x 490 mm Framed

“When I think of winter, my mind goes to a moody colour palette of rich greens, inky blues and ruby reds. Winter is soft and quiet. The light is dim and the shadows are golden. In the subject matter of the landscape, details become jewel-tones against the blurry haze of the natural landscape.”

- Zarah Cassim

Flowers Bloom, 2020
Oil on canvas
930 x 780 mm Framed