Born 1994 in Pomfret, South Africa. Lives and works in Johannesburg, South Africa.

"Helena Uambembe is an incredible storyteller, deftly re-articulating the past in visual form. She weaves narrative about the history of her family’s complex trajectory into her artwork, which takes the form of performance, installation, printmaking or photography. Through these various media, Helena recovers stories that were previously told on behalf of others, reclaiming them with a tenacious approach and a sophisticated visual language. Helena was born in Pomfret, South Africa in 1994 to Angolan parents who fled the civil war. Her father was a soldier in the 32nd Battalion, a military unit within the South African Defence Force mainly made up of black Angolan men. This heritage is the main motif with which Helena works, unearthing a hidden archive and chronicling moments in time in new and important ways."

Artwork Image: My Load I Shall Carry (Prayer to Mother Njiga ) IV, 2019. Photographic print. 18 3/4 x 26 3/4 in.

Born 1995. lives and works in Pretoria and Johannesburg, South Africa.

"Lunga Ntila explains that there are five key conceptual “blue-prints” behind the construction of her work. These are: identity, re-imagining, perspective, unlearning and interpretation. Perhaps the most curious yet salient of these, when looking at her entrancing work, is unlearning. Through photographic manipulation and digital collage, Lunga reveals the importance, as a young South African, to not simply accept what one has been taught, and the resulting knowledge that has been inherited. There is a quiet power in learning the rules to knowingly break them, which Lunga does so very skilfully."

Artwork Image: Untitled (Coquette II), 2018. Digital collage. 19 1/2 x 17 3/4 in.

Lives and works in Hong Kong.

2014 MA, Creative and Life Writing, Goldsmiths, University of London, UK. 2007 BA, University of Hong Kong.

"Enoch Cheng is an artist interested in decontextualising the personal mythologies that emerge from a particular culture, and letting them evolve within a broader, more participatory situation. His complex, generally performance or video based work, often references his grandfather’s migration from Hong Kong to South Africa on a container boat in the 1960s. Yet this story is always considered in relation to the expansive context of, what he calls “the natural history of other lifeforms." As Michelle Chan suggests in her Frieze opinion piece titled Walk with Me, Enoch’s work asks: are we prepared to join in when faced with an uncharted journey? In these vigilant times, how can we engage with uncertain, unfamiliar forces and collaborate on something new that offers plurality rather than singularity? Are we prepared, Enoch asks, to have a “genuine, yet safe, engagement with the unknown?”

Artwork Image: Study of Zebra (I-V), 2019. African print pinned on Thai silk on clip board. 11 1/2 x 8 1/4 in.