Stephané E. Conradie

Oupa Armstrong, a new light work showing at @girls_girls_girls_gallery this weekend for their exhibition Prints Charming. Botanical transfer print on silk with aquatint leaves soaked in tea. · · · · #ecoprinting #etching #print

The animals aren't getting as much attention as they usually did. Koekie in print. · · · · #woodengraving #print #printonpaper #printmaking #reliefprint

Drie susters, 2024. Etching on reclaimed silver-plated tray metal entrapped in resin with ecoprinting.· · · · · · #etching #ecoprinting

For my love of uranium glass and insects. In recent work, I have incorporated illumination emitted from uranium glass into my assemblages. The mineral uranium is infused into glass, which allows the glass, used in various ornamentations, to glow under UV light. Minimal traces of uranium are found in uranium glass, making it safe to handle, whilst uranium in its mineral form is life-threatening. Uranium mined from Namibian mines comprises six per cent of the world’s uranium production. Jack Boulton (2021), who did research at Swakopmund’s uranium mines, describes uranium as a ‘monster’ lurking beneath the earth’s surface. Although uranium lives in the earth’s core, it is ‘alien’ to it. Uranium predates the earth by two billion years and was created by a supernova, making uranium otherworldly or extra-terrestrial. In places like Namibia’s mines, it can be thought of as an extra- terrestrial monster, an angry rock, especially when it is used to produce nuclear weapons. Boulton also describes uranium as a spirit or ghost that haunts postcolonial societies like Namibia, where genocidal atrocities have happened.* * * * 📸 @slater_studio

Focus on Stephané Edith Conradie Born in 1990 in Namibia and now based in Cape Town, Stéphané Edith Conradie examines the histories of colonialism and creolisation embedded in domestic material culture, calling into question how identity is encoded in the private domain. These objects have provided her with a language to investigate the creolised formations of identity that are linked to South Africa’s histories of colonialism, slavery, segregation and apartheid. Collected from second-hand markets or forgotten interiors, these modest treasures bear witness to both intimate and collective histories. A true archaeologist of the everyday, Conradie breathes new life into these scattered fragments of memory, reassembling and layering them to transform apparent kitsch into objects of deep symbolic resonance. — Focus sur Stephané Edith Conradie Née en 1990 en Namibie et aujourd’hui basée à Cape Town, Stéphané Edith Conradie examine les histoires du colonialisme et de la créolisation ancrées dans la culture matérielle domestique, remettant en question la manière dont l’identité est encodée dans le domaine privé. Ces objets lui ont fourni un langage pour étudier les formations créolisées d’identité qui sont liées à l’histoire du colonialisme, de l’esclavage, de la ségrégation et de l’apartheid en Afrique du Sud. Collectés dans des marchés de seconde main ou des intérieurs oubliés, ces petits trésors populaires témoignent d’histoires intimes et collectives. Véritable archéologue de l’intime, Conradie insuffle une nouvelle vie à ces fragments de mémoire éparpillés, les réassemblant et les accumulant, doublant le kitsch apparent d’une forte portée symbolique. 📷 Ruiker 1, 2025. 📷 Views of the exhibition « Ontwortel » at Ceysson & Bénétière Paris, 2025 © Cyrille Cauvet, Courtesy Ceysson & Bénétière #ceyssonbenetiere #stephaneconradie #paris

Two naughty babies. Both want to sleep with their comforts. Misha (the human baby) is 5 weeks old! And the cat baby (Fritz) snuck in when we weren't paying attention. The joys of motherhood.

Namibian-born artist Stephané Edith Conradie (b. 1990) is an invited artist in 𝙊𝙣𝙚 𝙖𝙣𝙙 𝙩𝙝𝙚 𝙈𝙖𝙣𝙮 exhibition, where her evocative bricolage assemblages shine within the 𝘐𝘮𝘢𝘨𝘦 𝘞𝘰𝘳𝘭𝘥𝘴/ 𝘞𝘰𝘳𝘭𝘥 𝘐𝘮𝘢𝘨𝘦s theme. Based in Cape Town, she is a senior lecturer in print media at UCT's Michaelis School of Fine Art and holds a PhD in Visual Arts from the University of Stellenbosch. @steph.edith artistic practice explores and examines histories of creolisation and colonialism, which are embedded within contemporary domestic material cultures. She questions the construction of identity in these private domains and their resulting material worlds, rooted in a Southern African context. Using domestic objects as a lens, she explores how creolised identity formations and the relationship between objects can influence dynamics within identity and culture. Her work in 𝙊𝙣𝙚 𝙖𝙣𝙙 𝙩𝙝𝙚 𝙈𝙖𝙣𝙮 captures the essence of how images and objects carry stories that span generations, offering a visual dialogue between the intimate and the universal. Don't miss her thought-provoking creations that weave past, present, and future.

𝙊𝙣𝙚 𝙖𝙣𝙙 𝙩𝙝𝙚 𝙈𝙖𝙣𝙮 features various constellations and groupings of artworks that explore the way in which artists narrate the relationship between the individual and the collective, or the self in relation to others. Guest curated by Storm Janse van Rensburg ( @stormjvr ) with the curatorial team, this bold new exhibition brings together large scale artworks by artists Stephané E Conradie ( @steph.edith ), Goldendean ( @goldendean_art ), Ledelle Moe ( @ledellemoe ), Abdus Salaam ( @abdussalaamart ), Inga Somdyala and Katlego Tlabela ( @katlegotlabela ) to be in conversation with collections in Javett-UP's care: the 𝘚𝘰𝘶𝘵𝘩32 𝘊𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘰𝘯, the 𝘑𝘢𝘷𝘦𝘵𝘵 𝘍𝘢𝘮𝘪𝘭𝘺 𝘊𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘰𝘯 and the 𝘉𝘰𝘯𝘨𝘪 𝘋𝘩𝘭𝘰𝘮𝘰 𝘊𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘰𝘯. The new exhibition can be viewed from 5 July 2025.

Ontwortel, a new body of works showing with @ceysson_benetiere at their Paris gallery. This body of work is the culmination of a two-month residency in La Chaulme. I am so grateful to have been given this opportunity and couldn't think of a better way to have spent a part of my sabbatical. It was also wonderful to get to know the Ceysson and Bénétière team better. Thank you for all of your support.

Cosplaying as one of my ancestors. Skaam is one of my new works heading to KKNK. Thank you @lizagrobler for the invitation to participate in your vision for the exhibition title Diepe Grond. · · To compensate for all the missing information about my grandfather and his histories in Oudtshoorn, I turned to the landscape and plants, indigenous and alien, to trace and imagine an embedded history. Through making the works with a technique called ecoprinting, the works try to allow the plants to reveal hidden plant histories that are tied to indigenous histories often denied in my ancestors’ stories.· · · · · #etching #ecoprinting #rawsilk

The final destination for my @standardbankarts young artist award exhibition is at the Castle of Good Hope. To have the exhibition in conversation with the Cape Heritage Museum and the Camissa Museum seemed like a fitting manner to end the exhibition's tour. These two spaces are working hard to find different articulations of what it means to have a creolised history in this country. And I hope that by placing my exhibition in conversation to these two museums, I can build on the work that these two spaces are creating, even in a location as conflicting as the castle. The exhibition runs until the 26th of March and is open everyday. The castle has an entrance fee but it will allow you to see multiple museums within its walls. Many thanks to @whatiftheworld_gallery and @standardbankarts for making this wonderful opportunity a reality.

Small creatures with big impacts. When I pick the plants to make my plant-based prints, I can't help but notice the insects that are so vital to their growth. It's no wonder that insects are worshipped as gods. This little one is being exhibited @marvolgallery and was part of the @hazendalfestival .