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BKhz Gallery

@bkhz

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Boroko | Cow Mothepa
Opening: 24 October 2026 |13h00
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Gallery hours
Tues - Fri 10h00 - 17h00
Sat 10h00 - 15h00
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Memory, because we remember primarily through images, and we believe what we remember (sometimes to our detriment); sight, because ‘seeing is believing’; and love, because believing grows from the same root as loving. Daniel Levi Strauss, Photography and Belief, 2020 The inspiration for this piece began with an interest in mythology. When looking at what a myth was to me I identified it as a memory abstracted. With pieces forgotten and then filled in over time into a story we carry with us. retold over and over again and thus changed with time. What details were originally left behind, what stories were created from the gaps? How do we mythologise the people we’ve loved and lost? In this portrait, I portray a girl in longing, laying down on a shirt from a loved one not pictured and likely lost. Her gaze is turned from the viewer, looking towards a dark field of grass. The density and darkness of the grass act as a metaphor for memory, looking to find something of an image only to be met with the darkness of its erasure, the green weaves interlacing the fractions of its existence and the feelings it has left behind. The shirt represents what is left behind, and Memory is activated by the object. This piece aims to tell a story of love, loss, longing, memory, and transformation, honing in on the fragments left behind, to, as myth would allow, be filled in with an impression over time. - @mirajaanstudio ———- Artwork details: When can I say your name and have it mean only your name Oil on canvas 76.2cm x 76.2cm More information: info@bkhz.co.za by @bkhz
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18 hours ago
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In our Plus space: “Like ties that bind you, they cannot be separated (without violence) by Cheriese Dilrajh “My heritage is deeply intertwined with my work. I come from a background rooted in the Indian diaspora, with my great-great grandfather having worked as an indentured labourer on sugar estates in KwaZulu-Natal, whilst women performed familial care duties. While my ancestry lies in a mythical India, I am grounded in South Africa, shaped by its geopolitics. This duality allows me to explore the fluid cartography between these worlds. My work often incorporates materials passed down from my mother and grandmothers, such as sarees, which represent not only personal history but also the limitations and challenges they faced in shaping their own narratives.” - @cheriese_ Artwork details: ‘Like ties that bind you, that cannot be separated (without violence), 2021, Woven sari. 60cm x 87cm More information: info@bkhz.co.za by @bkhz
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7 days ago
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In our Plus Space: “She was never alone I & II” by Cinthia Sifa Mulanga “What are the conversations that we have at home that we wouldn’t normally have in other spaces?” asks the artist. It is often when we are most relaxed that the inner monologue is the loudest. Some people escape it by streaming, scrolling social media, and going out, but the four walls of home patiently await the most searching questions about ourselves. It would be pleasant if the internal interlocutor remained singular, but doubt has a way of multiplying until a monologue morphs into auditory hallucination. Mulanga represents the many voices of the self by juxtaposing several women in the same frame. Their discretion correlates to separate states of mind, emotions, and personas. “My paintings are multi-perspectival portraits,” she declares, that work to highlight and interrogate the complexities of identity as it relates to at least one Black woman. - Lumumba Mthembu for Artthrob (Journey of interiority: Cinthia Sifa Mulanga’s ‘In the Becoming’) Artwork details: @cinthia.mulanga She was never alone I & II 2026 Acrylic paint with oil pastels, charcoal and paper assemblage collage on canvas panel 30cm x 30cm each Framed More information: info@bkhz.co.za by @bkhz
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9 days ago
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In our Plus Space: Chrisél Attewell’s “Abbaye Garden”. “While I work with an ethic of completeness, I am suspicious of neat conclusions. The aim is not resolution but accountability and care. The work invites openness and curiosity. I leave fluidity, texture, and visible brushwork in place so that decisions stay legible. I let one medium check another. A photograph can anchor a body of work; paint can digest experience and carry feeling; video can hold the time it takes to notice. I choose materials for what they do to attention: clay slows the eye, water pushes chance into a surface, pigment from a site ties the work to that ground. I am always willing to revise these choices. If a move feels too tidy, I undo it until it breathes. If the work succeeds, it gives a truthful pace to seeing, keeps complexity intact, and lets various materials speak together so a full story can be seen and felt.” - @chrisel_attewell Artwork information: Abbaye Garden Oil and clay on Belgian linen 1030mm x 1210mm x 50mm More information: info@bkhz.co.za by @bkhz
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10 days ago
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We are open today between 18h00 - 20h00 for @keyesartmile Art Nights We have “In Our Glory” a solo exhibition by @kayleigh_d_fisher in focus. & BKhz+ Featuring @chrisel_attewell @mirajaanstudio @cinthia.mulanga and our editioned prints. by @bkhz
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16 days ago
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“Kay-Leigh Fisher has long been suspicious of images. Or more particularly, of their ability to depict “truth”. Her work, while resting within portraiture betrays the impossibility of fully conveying the complex lives of those who people her paintings. Yet still, she searches; rooting this pursuit in an acute awareness of the power of images. With her debut solo exhibition at BKhZ, “In Our Glory”, she deftly makes visible an ongoing and open-ended unsettling of archives that are at once both personal and public.” - @dannibowler Artwork details 1: Recalling Ramolda II Charcoal, chalk, pastel and oil on canvas 50 x 50 cm Artwork details 2: Toekomsrus (Future Place of Rest) Charcoal, chalk, pastel and oil on canvas 100 x 100 cm More information: info@bkhz.co.za by @bkhz
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a month ago
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Walkabout Date: 19 September 2026 at 13h00 We look forward to welcoming you this Saturday afternoon for the artist led walkabout with @kayleigh_d_fisher Artwork details: Memories of Blackberry Street II Charcoal, chalk, pastel and oil on canvas 100cm x 100cm More information: info@bkhz.co.za by @bkhz
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a month ago
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Save The Date: 19 September 2026, 13h00 “In Our Glory” Walkabout led by @kayleigh_d_fisher Address: BKhz, 19 Keyes Avenue, Rosebank @keyesartmile Building “The diptych painting, The Age of Innocence, is a recollection of my mother Candice, when she was around 18 or 19 years old. It shows her on a night out when maybe she wasn’t supposed to be. She appears kind of anxious, playing into idea of being caught doing something or being out somewhere that you weren’t supposed to be. Based on the stories I heard of my mother growing up, she was raised by a very strict grandmother who instilled in her a pressure to be inside the home. In seeing this very contradictory depiction of my own strict mother in her youth, I wanted to capture the feeling of stepping outside of your parents home for the first time. Of discovering a new version of yourself outside of your family and outside of the ways that you have been known. The panel on the right speaks to the anxiety of what you might become in these new spaces.” ~ Kay-Leigh Fisher We look forward to welcoming you in the gallery during the course of the solo exhibition. More information: ✉️info@bkhz.co.za by @bkhz
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a month ago
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“In Our Glory” takes its title from a chapter in Bell Hooks’ Art on My Mind: Visual Politics (1995), titled “In Our Glory: Photography and Black Life”, which inspired most of the works on show. “[Hooks is] thinking about the black subject and photography and what we choose to archive, what we put choose to put up in our homes, the images that are passed down from generation to generation, and how the story of the people in them is dictated by the relationship that you had with that person”, Fisher explains in a studio visit. Fisher asks this question of Johannesburg and South Africa, at large, collapsing time through the way she contrasts the motility of her youth with the limitations placed on family members like her mother, grand-aunt and uncle. The images of the city spaces she wants to remember like the now-closed “ACID Bar…” - @dannibowler Artwork details: Kay-Leigh Fisher Smoke breaks in backrooms (2026) Charcoal, chalk, pastel and oil on canvas 120 x 100 cm by @bkhz
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a month ago
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