I don’t accept that there is a boundary between 'ancient’ and 'modern’. I look at a city not as something dead and mechanical but as brimming with underlying ancient energy, and perceive this energy, once expressed in myth and ritual, still expressing itself in everything we do and create.
Natural materials and fibres have been used since ancient times and are still used today for both utilitarian and aesthetic sculptural purposes. Consider how living cultural traditions such as seen in Indigenous artist Anchor Kulunba’s Mandjabu (conical fish trap) continue to have relevance and presence in contemporary society and art practices. Analyse how both traditional and contemporary practices are evident in Hezki Symonds’ work.