/ Midnight Horizon

Midnight Horizon

by Diana Hyslop, Katja Felle, Lisa Pettibone, Tarik Chebl, Wonder

1,25 

A contemporary abstract painting featuring deep blue and gold tones, symbolizing the calm transition between day and night. Printed on premium archival canvas.

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ABOUT ARTIST

Wonder

“I think that I had dreams of wanting to be… anything! I wanted to represent something in my life. I didn’t want so many things, but I wanted to be able to say, this is what I did, this is mine.”

Wonder’s life and work are inseparable. From growing up in the townships outside Cape Town to living for years alone on Table Mountain, and later exhibiting across Europe and South Africa, his journey has shaped the depth and structure of his painting.

Painting is his primary language. He works intuitively, often building new images over older surfaces. “I don’t give up on an image,” he says. “I start something else on top of it.” Each canvas becomes a layered accumulation — trusting that the work itself will have “a bit of a say in it.”

He works in series that reflect shifts in his life: The Fields of Play during his years on the mountain, Windows at Greatmore Studios, and Inside Out during his time in Germany. His paintings carry this sense of lived time — grounded and quietly assertive.

More From This Exhibition

Diana Hyslop

In From Above, Diana brings human figures, cats, leopard markings, repeated eyes and protective presences into a composition that seems to occupy several pictorial planes at once. Like a storyboard, the painting offers fragments of a narrative without telling us precisely how they fit together. The eye moves continually between its characters and symbols, discovering relationships that remain open to interpretation—and may shift each time we return to the work.

Wonder

In The Curve, a bending road draws the eye into the distance before beginning to blur and break down. Wonder painted this landscape from memory after travelling through the Karoo and Eastern Cape, working not from a photograph or drawing, but from what remained afterwards. The curve gives the painting a clear sense of movement, while the surrounding haze makes the scene feel less like a fixed place than something being recalled—its beauty carrying a subtle undercurrent of uncertainty and exposure.

Lisa Pettibone

Folded glass held in tension by string, as though the material is being pulled toward collapse. The fold has already taken shape through the glass's own process — the string calls attention to that pressure rather than causing it. A quiet study in restraint and resistance.

Lisa Pettibone

Glass forms rise from the surface as if pressing through from beneath, shaped by the memory of heat and pressure. A fluorescent yellow backing casts a reflected glow, giving the colour a felt, atmospheric presence. The work shifts with the viewer's position — light and shadow revealing new depths as one moves around it.

Tarik Chebl

In Island Fragment, Tarik Chebli moves toward a more abstract and object-like language. Poured and accumulated paint creates a dense, topographical surface, where colour and material seem to settle into islands, channels, and geological formations. Rather than depicting nature directly, the work approaches it through texture, mass, and viewpoint. Seen almost from above, the painting suggests a terrain in formation: part image, part relief, part imagined fragment of an ecological world. This material intensity sits at the centre of Chebli’s practice, where nature becomes a way to explore paint as substance — layered, physical, and suggestive of mud, water, bark, vegetation, and shifting ground.

Diana Hyslop

Watching began as a portrait of a woman in Diana’s studio, but the face has been fragmented and rearranged into something closer to a painted collage. Its cut-out-like forms recall magazine imagery, Dada composition and Cubist portraiture, while the flashes of red in the lips and nails lend the figure a character that feels at once coy and slightly cruel. There is also something intriguingly self-directed in the gesture—as though the subject is absorbed in the act of watching herself.

Diana Hyslop

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