Abundance - Final 2

ABUNDANCE 

Saturday 7 Oct – Sunday 12 Nov 

Walkabout with Curator – Dal Botha 

Wed 25 Oct and Wed 1 Nov at 12:00

Abundance of Fish 

Early this year I found myself on a yacht with no paper, but I 

did have a needle and my threads and lots of time. I was 

captivated by the shoals of tiny fish that would swim up to 

the boat looking for food. 

So out of creative desperation, I repurposed some tea bags, 

orange peel and leaves and stitched and stitched and 

stitched. The tea bags are very strong and durable and 

transformed into a soft, pliable “fabric” with the layered 

threads. – Trudi McPherson 

Trudi McPherson 

Abundance of Fish 

Thread on tea bags 

37cm x 34cm 

R5 000.00

Abundance of Stitch 

I worked with thread into a drypoint etching 

printed onto a very old, fragile dictionary page. 

It is glimpse into a very private moment where a 

woman is sitting in the dark, alone with her 

thoughts. 


Woman in the dark 

Thread onto a dry point etching on a vintage dictionary page 

32cm x 38cm 

R4 200.00

Abundance of Stitch 

My works were inspired by my love affair with 

thread and the mindful placing of stitches. It is a 

very laborious but cathartic process. 

It is a very deliberating placing of each stitch and 

playing with colours and sizes onto unexpected and 

often difficult surfaces. – Trudi McPherson 

The Aviation Series 

A few years ago, I came across a book with these 

amazing photographs showing the aviation journey 

in the early 1900’s. 


Abundance of stitch – Running 

50cm x 40cm 

R7 000.00 

The singleminded determination of these pilots 

fired my imagination. They were so brave and 

fearless….. And against all odds they finally 

succeeded.

SOLD

SOLD

SOLD

Double Blur and Glitch 

The thinking and inspiration behind Glitch & Double blur is the 

subject of Identity. I entity in a fluid, changing world where the line 

between the & real and tangible, or tangible reality & the digital, 

virtual online worlds has become blurred. What is defined as 

identity, whether personal, online, and inherent? 

The motivation behind these 2 works was really to enmesh the 

tangible (cotton) with the intangible (unknown/ unseen identities) 

of the 2 faces. On a more personal level, I used my late 

Grandmother as reference. There are times when I miss her deeply. I 

have photographic images of her but will never again have her 

presence in person, so these little works also have a sentimental 

aspect. In a sense, she’s there, but not, visually visible, but 

inaccessible. I wanted to express the dichotomy & interplay 

between I can see her, but I can’t, forever tangible accessible only in 

memory. 

Lindy Liebenberg 

Double Blur 

Drypoint etching, Chine-colle and Cotton on 

Fabriano Rosapina Paper 

21cm x 23cm 

R2 575.00

SOLD

Solaris EKÕ 

Solaris Ekõ is about resonance, an exploration between the 

internal & external worlds and where they meet. The figure is 

situated is space & time, physically & metaphorically. We all 

possess ‘space’ & ‘time’ within us, or ‘eternity’ in our hearts, and 

many times must navigate this alone. Solaris Ekõ is a small 

reflection of the navigation or journey through space & time. 

Solaris pertains to the sun ( solar system) and Ekõ is echo. It is 

the resonance, voice or echo that occurs throughout the 

universe and yet echoes inside of us. This work is a quest for 

connection. In connecting the star constellation, cotton is used 

metaphorically. 

Nicky Liebenberg 

Solaris EKÕ 

Drypoint Etching, Chine-colle and 

Cotton on Frabiano Bianco Paper 

29cm x 30cm (unframed size) 

R3 575.00

Lizel Von Wielligh – Storm in a Teacup 

I have been living in the Klein Karoo for the past 7 years. No 

rain. Last year the skies opened. We went from 6% water in 

the Nels Dam to it overflowing for the past 6 months. The ‘lei’ 

water is running constantly, and all the little streams are full. 

There are plants, mosses, birds and flowers that I haven’t 

seen before. Everything is lush,neon green and fit to burst. 

This abundance has also flowed over into my own life. I 

have been collecting and receiving an intense amount of 

fabrics and other blessings over the past few years. It was just 

a matter of putting them all together in these very abundant 

surroundings. I think I just made what I saw. I really had no 

choice. 

NOT FOR SALE 

Trusting in my visual memory and the actual objects, I used a 

few very simple sewing, painting and sculpting techniques, 

made with simple tools put together with hand stitches. The 

trick is lots of it! Too much! Too big! Too intense! Almost too 

much to look at. If I have a cup of tea and a few flowers in a 

jam jar I feel like the luckiest and richest girl in the world. In my 

life of abundance, I am focusing on and giving thanks for the 

blessings I receive rather than focusing on what has been 

taken away or what is lacking. Living in abundance does not 

mean an abundance of material things even though there is 

material from floor to ceiling! I am thus renaming 

myself: Lizel Abundance Barefoot Von Wielligh!

Lizel von Wielligh 

Fabric and Thread in a Tin 

R2 145 



R2 860 



R1 285


Fabric and Thread 

R3 575 



R3 575 



R5 000

Liezel von Wielligh 


R2 145 each 

Liezel von Wielligh 


R3 575

Linda Rademan 

Abundance 

66.5cm x 73cm 

R13 000.00 


“…then, suddenly, at long last, we catch a glimpse of the 

abundance in the moment---abundance even in the face of things 

falling apart.” Katrina Kenison, Magical journey 

This artwork is inspired by the ever-resilient aspect of the human 

spirit. The ability we have, that even when darkness reigns, we try 

and find the rainbow. 

The sparrow represents the tale of hope, which Anette Marais, a 

woman in the Bethulie concentration camp during the Second 

Boer War, displayed towards her fellow female prisoners by 

reading Matthew 10:29-30 ( Are not two sparrows sold for a 

penny? Yet not one of them will fall to the ground outside your 

Father’s care. And even the very hairs of your head are all 

numbered. So don’t be afraid, you are worth more than many 

sparrows) and pleading for a sign of hope. A sparrow landed on 

her shoulder during this reading. When General Smuts came to 

hear of unwavering faith of the women, he instituted the visual of 

two sparrows to be used on the coin with the least value.


The amount of packaging waste we generate in our homes is very 

disturbing. We are often dismayed by the pointless and heavyhanded 

wrapping of goods across all spectrums, from fresh 

produce to electronics. 

For two weeks I set out to reduce our household recycled waste 

by creating an art piece made of what we discarded. 

Unfortunately, there was no significant reduction. The log0cabin 

block, synonymous of home and hearth, was used as an iconic 

visual representation of excessiveness. This symbol of comfort, 

coziness and home has become a depiction of the trash and 

debris our lives produce. 

Diana Vandeyar 


77.5cm x 78.5cm 

R5 800.00

Mandy Schindler 

Floating 

100% linen, hand stitched, hand Dyed using fibre 

dyes, wool batting. 

130cm x 70cm 

R22 000.00 

Floating 

In this work I am looking at ABUNDANCE all around, in the foreground and in the background and in the stitching and in the 

roughness of the linen. Abundance is all around me and it is not something I can procure, it is a lived experience of something I 

feel, something that must remember to tap into. Abundance is the energy of attraction, the process of more which gives me lots of 

joy and brings more meaning into my life. 

My work is a woman’s vernacular for the 21 st century. It speaks about feminism, vernacular architecture and thinking through 

making. 

(Vernacular architecture is a term used to categorize architectural design which uses locally available resources and traditions to 

address local building needs.)

Scattered 1 &2 

Kristen McClarty’s body of work is concerned with the 

visual demonstration of existence, memory and the passing 

of time and, more particularly, the build-up of these things 

in a space or on a surface. In this exhibition, these themes 

are applied to textile work with a focus on natural mark 

making and stitch. 

Kristen’s art practice rests on a ongoing exploration into 

ways to make a mark and new surfaces on which to make 

those marks. Her experimentation with the sheerest of 

textile papers, Abaca, usually used for the archival 

rehabilitation of damaged documents and manuscripts, has 

resulted in Kristen’s natural marks on surface that appears 

quite fragile and ethereal. 

Kirsten McClarty 

Scattered 1 

Natural mark making and stitch on Abaca paper textile and Japanese 

handmade paper. 

70cm x 55.5cm 

R11 500.00 

These crumpled and torn fragments, holding thought and 

memory, are anchored to Japanese handmade paper and 

linen gauze, with tiny, scattered, stitched knots made with 

vintage thread, found forgotten, in a haberdashery. Holding 

down slow contemplation onto a surface

Kirsten McClarty 

Scattered 2 

Natural mark making and stitch on Abaca paper 

textile and Japanese handmade paper. 

70cm x 55.5cm 

R11 500.00

Balancing Rocks 

Yearning to find balance, peace and harmony in 

our everyday lives 

Monique Etsebeth 

Balancing Rocks #6 

42cm x 59.4cm 

R5 650.00

Eyes Wide 

Geometric large spheres balancing. 

I create Stitch Art – hand embroidered spun yam on paper. 

The intimate process of hand-crafted sewing onto paper 

makes each pin hole which gets made and then 

embroidered, an intricate layering of yam. Working off the 

back from a grid line where each stitch is methodically 

embroidered. 

Monique Etsebeth 

Eyes Wide 

42cm x 59.4cm 

R5 650.00

EXUBERANCE 

Exuberance is my expression of the freedom I experienced when 

lockdown ended! 

I felt the freedom to once again provoke, question and reframe 

how I exist in the world and in relation to all other living beings. 

Tilly de Harde 

Exuberance 

71.5cm x 51cm 

R9 210

What Lies Beneath 

The idea of what lies beneath the surface fascinates me. We must not confine 

ourselves to the surface. We must look deeper and see the beauty and the darkness 

Elaine Barnard 

What Lies Beneath 

116cm x 204cm 

R25 428.00

Night Garden 

Night Garden is a work in response to a series of 

dreams I had where I floated underwater, totally at 

ease and content. 

Waking up, I would feel a sense of wonder at the 

profound - and fluid – connection of all things; a 

sense of everything-happening-at-the-same-time 

without boundaries or borders that separate. A kind 

of free-fall into profuse, joyful emotion 

Willemien de Villiers 

Night Garden 

Cyanotype + Deconstructed lace on found 

domestic linen. Hand stitched with cotton thread. 

56cm x 73cm 

R21 428.00

Still Life 

Roy Starke was born in 1954 and died in 2018 leaving behind a wealth 

of art quilts-powerful and rich in meaning . 

His artworks reflect his perspective of reality or conception of what he 

regarded as reality, while the abstraction of reality served as a theme 

on its own. He developed his own personal visual language in colour 

and composition, and placed the emphasis on design, emotional impact 

and content. Needle and thread became instruments for the power of 

ideas. 

Roy used contemporary stitch as a design component in his art works. 

He drew from the tradition of embroidery, but then painted the 

surfaces to provide additional texture. These embroideries added 

sculptural elements for the surface of the pieces which he felt painting 

and piecing could not do alone. It was common engagement with 

embroidery, paint stitches and textiles that formed links between the 

different techniques that created a unitary statement in his artworks. 

To him there was no right or wrong in art. It had to be authentic and 

the vision clear 

Roy Starke 

Still Life 

86.5cm x 99.5cm 

R8 572.00

Camino 2 

Silver leather uppers and pieces 

of script in rubber and felt, 

combined with running stitch. 

Again, the journey of life and 

faith. 

Elizabeth Vels 

Camino 2 

100cm x 38cm 

R10 715.00

Camino 1 

Leather and fragments cut from 20-year old 

worn, Spanish walking sandals, linen thread, 

two unraveled weavings. 

Making a script of my walking years and the 

journey of my life 


Camino 1 

82cm x 42cm 

R10 715.00

West Coast Flower Season 

This artwork pays homage to the wildflowers which burst 

into full bloom, in an abundance of vibrant shades, 

during the flower season in the West Coast of South 

Africa. The flower season takes place between August 

and September annually. 

The artist depicts the flowers in an abstract, geometric 

style and creates the artwork using shades of yam which 

resembles some of the colours of the flowers’ petals in 

the open fields. 

Primrose Charmz 

West Coast Flower Season 

42cm x 48cm 

R15 000.00

Late Rain 2 

Weaving, knitting, rags, linen, mohair, cotton 

and bamboo thread. 

Running stitch alludes to darning, i.e. repair 

and renewal, blanket stitch, as its name 

implies, nurture and warmth 


Late Rain 2 

64cm x 39cm 

R6 430.00

Time and Seasons 

Tapestry weaving in cotton, bamboo and rag strips. 

At 86, landscape is still an important metaphor for 

my life, in all its challenge and beauty. 


“Times and Seasons” 

98cm x 70cm 

R5000.00

“IN THE SUN THAT IS YOUNG ONCE 

ONLY” 

Tapestry weaving in cotton, bamboo 

and rag strips Inspired by my love of 

plants and my childhood, sheltered by 

my gardening grandmother. 


“In The Sun That Is Young Once Only” 

53cm x 35cm 

R2 860.00

Late Rain 1 

Plain and dyed linen fabric and tapestry weaving, 

backed on denim. 

Four generations of gardeners in my family 

inspired decades of gardening life, metaphorically 

and figuratively . 


Late Rain 1 

88cm x 45cm 

R5 715.00

“THE UNRAVELING: TO LIVE, YOU HAVE TO DIE FIRST” 

“’The Unraveling’ series came about as I started exploring the 

concept of‘unraveling.’ ‘Unravel’ can have dual meanings. It 

could mean the coming apart of something, a separation of 

threads or a person becoming unraveled. At the same time, it 

could also mean to unravel a mystery. For me this was such a 

wonderful analogy of where I found myself at the time. In my 

‘unraveling’, my brokenness, God reveals Himself, and at the 

end of my holding it together, I find Him holding me. In this 

place I get to unravel the mystery, I get to stand on “holy 

ground”. 

Along came the exploring of woven fabrics, nets, baskets, 

stripes and checks, weaves and knots, roots, and in this 

instance, dried bulb encasings. This version of “The 

Unraveling” happened after my nephew Noah brought me 

some Chasmanthe bulb encasings he picked up on a morning 

walk. The evidence of these encasings meant that somewhere 

the bulb has flowered and the seed of the concept “to live, 

you first have to die” was sown…pardon the pun. The little 

embroidery piece is of an actual Chasmanthe flower.” 

Nicolette Geldenhuys 

“The Unraveling – To Live You Have To Die First 

Dry point engraving on parchment paper collage, with monotype and stitching on Fabriano. 

72cm x 50cm 

R8 285

NATIONAL WILDFLOWERS 

With ‘National Wildflowers’ I would like to draw attention to the things 

we throw away in abundance: We often talk about the waste lying 

around our countryside as being our ‘National Flower’ and, while my 

work is not made from plastic, it is made from paper which would 

normally be discarded. 

I love the haphazard marks and unexpected colour combinations made 

on the ‘mop up’ paper I use when painting, so I have used many pieces 

collaged together to create the base of this work. The main feature of 

the work, thread, is also sourced from discard, mostly from charity 

shops. How easy we find it to throw functional things out. 

Monique Day-wilde 

‘National Wildflowers’ 

75cm x 100cm 

R15 000

Walking On The Path (Right) 

Morning! The birds are singing, and the 

swallows are back from their long journey, 

swooping for insects who fly among the 

glorious colour of a new season. All is 

right with the world in this moment. 

Beach Walk (Left) 

Low tide, and between my toes, a shaft of 

sunlight as the day fades and there, in a 

rock pool, are so many anemones I cant 

count them. Colour, texture, inspiration, 

delight. A feeling of well being. 

Monique Day-Wilde 

Beach Walk 

Fabric, Paint, Thread 

37.5cmsø 

R4 750.00 

Monique Day-Wilde 

Walking On The Path 

Fabric, Paint, Thread 

21.5cmsø 

R4 200.00

MAYPOLE DANCE 

The life force and abundance in nature are the inspiration for this 

work. The Maypole Dance with its roots in ancient Rome and 

Germany, was performed as a fertility ritual. Youth, playfulness 

and the celebration of natural cycles in nature impart a feeling of 

promise and of abundance. 

Grass is the most abundant plant on earth and apart from being 

decorative and useful in many ways, the grains and seeds thereof 

provide a source of food which is the staple diet of many. The 

grass and twigs were gathered from my garden and took shape in 

my hands, in a collaboration with nature, without a preconceived 

plan or a pattern. 

“The grass of the fields,” fragile yet resilient, can be seen as a 

metaphor for the human spirit. 

Berdine Van Der Mescht 

Polka Dots 

Organic Material 

90cm x 90cm 

R3 575.00


Floral Shift 

Organic Material 

90cm x 90cm 

R4 285 

SOLD


Puffy Sleeves 

90cm x 90cm 

R3 757.00 

SOLD

Sales and more information 

Chantel Louskitt 

+27 60 957 537 

admin@Hermanusfynarts.co.za 

We ship worldwide.

Join us for a weekend of 

Fibre Art inspired 

workshops on 

4 and 5 November. 

• Click here for more information: 

• https://www.webtickets.co.za/v2 

/event.aspx?itemid=1534824538

Abundance - Final 2

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