Bringing Art to the Dust: My First Art Journey to AfrikaBurn

There are certain moments in an artist's life that quietly divide time into before and after.

For me, bringing Palm to Soul to AfrikaBurn in 2025 was one of those moments.

Until then, much of my work had lived within the familiar boundaries of studios, galleries, workshops, and private collections. AfrikaBurn presented something entirely different, an opportunity to create not only an artwork, but an experience. A space for reflection, connection, and participation within a temporary city built on creativity and radical self-expression.

What began as an idea slowly evolved into eleven ceramic hands, each carrying its own meditation and meaning. Together they formed Palm to Soul, a walking meditation through the desert. Visitors were invited to move from sculpture to sculpture, engaging with moments of introspection, curiosity, gratitude, and self-discovery.

The project challenged me in ways I could never have anticipated.

There were months of planning, making, problem-solving, transporting fragile ceramic works across vast distances, and learning how to create something resilient enough to withstand the harsh conditions of the Tankwa Karoo. There were moments of excitement, uncertainty, exhaustion, and wonder.

Yet somewhere between the making and the burning sun, something shifted.

I began to understand that public art is fundamentally different from creating work for a wall or pedestal. It is not simply viewed; it is experienced. It becomes part of people's stories. It creates opportunities for strangers to connect, reflect, and share something meaningful together.

Standing in the dust and watching people interact with the installation was one of the most rewarding experiences of my creative life. People paused. They reflected. They laughed, cried, photographed, and shared stories. The work no longer belonged solely to me; it belonged to the experience.

AfrikaBurn also expanded my understanding of what art can be.

It reminded me that creativity extends far beyond objects. It can shape environments, communities, rituals, and moments of human connection. It can create temporary spaces that leave lasting impressions.

Looking back, Palm to Soul feels less like a completed project and more like a beginning.

A beginning of my journey into public art. A beginning of imagining larger installations. A beginning of understanding how art can move beyond the studio and into shared spaces.

The experience planted a seed that continues to grow today, informing new ideas, future installations, and an evolving vision for what my practice can become.

Sometimes the most important works are not the ones we create perfectly.

They are the ones that invite us to step into the unknown. For me, Palm to Soul 2025 was that invitation. And I have a feeling it is only the beginning.