Arts24: There's a conversation happening: one that alleges that South Africa’s emerging artists, curators, critics and audiences have the potential to become stagnant because when we engage, we are to make sure that no one is offended. Your show, in part, seemed to be an investigation (and reinforcement) of this alleged phenomenon, where we are adapting into a state of censorship. So then what was the show meant to address when you made the work?
Brett Murray: There are a few threads going through this body of work. I have wanted to make a quieter, less vitriolic group of sculptures for some time. A bit more intimate...and less shouty. This was borne from many and various insights and experiences. With a young family including two kids...9 and 10 years old...I was drawn to more personal and empathetic voices in my head. Notions of protection...concealment...etc.
I am currently drawn more to people rather than perpetrators...it would seem.
