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Pause; the annual wildlife exhibition at The Cape Gallery
Threshold, annual Winter Solstice exhibition at The Cape Gallery

Carnivale, solo exhibition at The Cape Gallery
Impulse, Rust en Vrede, Durbanville
Winchester Mansions, Cape Town
Encounters, annual Wild Life exhibition at The Cape Gallery
Proverbs, annual Winter Solstice exhibition at The Cape Gallery

Turn around time, annual Winter Solstice exhibition at The Cape Gallery
The world we live in, annual Wild Life exhibition at The Cape Gallery
Rust &Vrede, Durbanville – July/August
Group exhibition at The Cape Gallery with Yvette Polovin, Derek Jacobs and Jenny Parsons

Borderline, exhibition with Annie Vanhee at The Cape Gallery
Continuum, annual Winter Solstice exhibition at The Cape Gallery
Annual Wild Life exhibition at The Cape Gallery

Vuleka competition finalist
'Hidden Beauty' exhibition at Hyde Park Gallery, Johannesburg
'Suzani' exhibition at Artvark Galleries, Cape Town and Kalk Bay
Winter Solstice – Cape Gallery
Borders, annual Wild Life exhibition at The Cape Gallery

Annual Wild Life exhibition at The Cape Gallery
Annual Winter Solstice exhibition at The Cape Gallery

Impact, annual Wild Life exhibition at The Cape Gallery
Desire, annual Winter Solstice exhibition at The Cape Gallery

Another place, another time: Brief encounters in the wilderness, annual Wild Life exhibition at The Cape Gallery
& Beyond Encryption, annual Winter Solstice exhibition at The Cape Gallery

Wild Life exhibition at The Cape Gallery

Exhibition with Paul Birchall at The Cape Gallery
Wild Life exhibition at The Cape Gallery

Exhibition with Ingrid de Haast at The Cape Gallery
Wild Life exhibition at The Cape Gallery

Wild Life Exhibition at The Cape Gallery

International Exhibitions

8th International Triennial of Printmaking – France
Gunjifa Printmaking Exhibition - Goa, India

Gunjifa Printmaking Exhibition - Impact 6 International Printmaking Conference, Bristol, England

International Gunjifa Printmaking project, co-ordinated by Chhaap Printmaking Workshop, Vadodora, India
Group exhibition at Showcase Gallery - Dubai

6th International Engraving Biennale of Ile de France, Paris
Exhibition – Kilkinney Annual Arts Festival – Ireland

“Strangers” Invitational International Printmaking exhibition , Canada, USA, New Zealand 

Innovative Threads Exhibition, Cape Town and France – Fibre Art

Corporate Collections
The Legacy Group
Jindal Mining Group

Residency – Nek Chand Sculpture Garden, Chandigarh, India


Thupelo Printmaking Workshop participant – Greatmore Studios

Taught a printmaking workshop – Kilkenny, Ireland

Innovative Threads : A decade of Fibre Art - book by Liza Gillespie

“Piecing Together the Past” short stories – District Six Museum Publication

Co-author and photographer of two 'coffee table' wildlife books: “Etosha – Life and Death on an African Plain” published by Struik in SA and Collins UK in German and English for international distribution “Zululand – a Wildlife Heritage” published by Struik in SA and Collins UK for       international distribution

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Title: Blue Dog
Size: 48 x 39 cm
Media: Oil
Price: R5 750 Framed


What is wax encaustic?
It is a mixture of pigmented waxes (NOT candlewax) and resins, which are painted with while molten. Each layer is fused to the preceding one using a blow torch, heat gun or heat lamp.

Is it a new medium?|
No, it’s a very ancient one. Exquisite funerary portraits were painted on mummy cases in Fayum, Egypt from 200BC. Famous contemporary artists who use it include Diego Riviera, Jasper Johns and Tony Scherman.

Will it melt?
Not under normal circumstances. The waxes used have a melting temperature of over 65 Deg C. If it melts in your house, you’ve got a bigger problem, it means your house is on fire! Exhibiting it behind glass in the direct sun is not a good idea, but no artwork of any medium should be exposed to that. Leaving it in the boot of a car parked in the sun on a hot day for a couple of hours will also do damage. Prolonged exposure to extreme cold, i.e. below freezing, is also not good.

Treated with the reasonable care for any other artwork, wax encaustic may well outlast oil or even acrylic. The Fayum portraits are as vibrant today as they were over 2 000 years ago, with none of the cracking that oils are prone to.

Wax encaustic paintings are also impervious to damp, even when used on paper, so are far more robust than watercolours.

How do I look after a wax encaustic painting?
Be careful not to scratch the surface, and perhaps buff gently once a year with a silk scarf.


I developed a passion for drawing and painting at an early age, and while still very young decided that I wanted to become an artist. I have had some formal training, but am mostly self-taught.

In my early 20's, instead of the planned move to Paris to further my art studies, I went on a safari and fell totally in love with the bush. An enduring fascination and passion for Africa, both as an idea as well as a place, was born.

For the next 12 years, my partner and I permanently lived and traveled in the wild places of Southern Africa and what was then SWA. We photographed and wrote articles on wildlife as well as two books, 'Etosha´ and 'Zululand' published by Struik in the early 80's.

Motherhood and a move to the Cape has expanded and deepened my perception and understanding of the underlying, mostly sub-conscious connection between humans and what we like to think of as ‘our’ world.

In the same way that there is a heartbeats’ space between action and reaction, there is a gap – sometimes a chasm – between us and everything in our environment. In there, I believe we imbue people, animals, places and things with our ‘shadow selves’. This is where I find my work.

On the surface the artworks may seem to range from highly realistic/figurative to abstract, but beneath that, they are all concerned with recording my explorations of an ever changing perception of reality – physical, emotional, mental, spiritual and of course mythical.

Profoundly rooted in Africa but with an inevitable overlay of European culture and history I strive to develop a new reality where the two supposedly opposing cultures come together in a synthesis greater and more beautiful than the sum of its parts.
I paint people and places, but return time and time again to what I call “Beasts” obsessed/possessed by certain animals and themes. I try to not only capture some physical likeness, some sense of ‘Presence’ but also to materialise the essentially invisible essence of the particular subject.

Technically the images are worked with a variety of media – sometimes singly, more often mixed on paper, masonite, wood, canvas or perspex. I use pastels, both oil and chalk, watercolour, acrylic, oils, resin and wax encaustic.

I enjoy printmaking, etching, collograph and monotype printing, as well as bronze sculpture, both relatively new directions for me. I continue to photograph subjects that interest me, including an ongoing project on dance, capturing movement and feeling rather than just the pose.

I am currently exploring ways to incorporate my own wildlife photographic images with painting and drawing, as well as expanding my techniques in wax encaustic.

By Margot Hattingh

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