Excerpts from reviews for exhibitions at the Irma Stern in 1991 and 1993

From The Cape Times, March 1991, by Gill Cowan:
It is not often that you can walk into an exhibition and immediately become swept up by the narrative vigour of an artist who is at once participant and observer…He has used, maybe in the manner of bricoleur, a repertoire of commonly understood visual signs which constitute another reality-another discourse, one of many that add to the debate on the nature of South African culture. He presents women as a source of strength and security, responsible for maintaining the complex links of their community and the continuance of that which is valued. The significance of his work is not so much in his ability to paint, but in its feel of cultural authenticity.

From South, March 1991, by Andrew Putter:
Not all the work is cheerful; some of the paintings and drawings seem sad and bitter-sweet, recording feelings tinged with despair. But these more retiring emotions are counterbalanced by the artist’s exuberant paintwork, his expressive linear use of the brush, and his wild, clashing colours. In some senses there are strong differences and contrasts as one moves from work to work. Yet there is a common thread of style running through the work-a concern with perspective, space, the unusual choices of colour, and the off-beat drawing.

From The Cape Times, February 1993, by Benita Munitz:
Overstuffed couches; ornate mirrors, fancy-fringed lamps, round tables pirouetting on arabesque supports…Positively claustrophobic are these painted and drawn domestic interiors demonstrating a horror vacui that the Victorians could never have imagined. Lebensraum is non-existent, colours vie for attention and brush-flicks buzz the surface like a swarm of mosquitoes. The mood is schizophrenic...