RESERVOIR Projects was founded in 2021 by Heinrich Groenewald and Shona van der Merwe, launching as an independent partnership focusing on collaborative curation. This new showcase titled, “Against the Bias” pays homage to an artistic conversation on the duality of textile and dress; exploring how fashion transcends the functional to become a vessel of identity, memory, and social critique. The exhibition is taking place in the esteemed Mount Nelson, Belmond Hotel, Cape Town, South Africa.
A.S: What inspired the theme “Against the Bias” and its focus on textiles and storytelling?
H.G: The exhibition title “Against the Bias: Unravelling Material Codes” emerged from an exploration of how textiles and garments function as carriers of stories, identities, and societal norms. The title plays on the double meaning of “bias.” In garment-making, cutting against the bias allows the fabric to flow with a more natural, dynamic drape—symbolizing freedom and fluidity. At the same time, “bias” speaks to judgement or preconceived notions, often shaped by how people present themselves through clothing.
The subtitle, “Unravelling Material Codes”, delves into the deeper narratives embedded in fabric and dress. Textiles carry inherent codes—cultural, historical, or aesthetic—that influence how they are perceived and interpreted. These codes create space for biases, dictating how individuals are viewed based on what they wear. The exhibition seeks to challenge and deconstruct these preconceptions, celebrating the transformative power of textiles and dress to tell nuanced and untold stories.
A.S: How did you choose the artists featured in the exhibition?
H.G: The exhibition includes the work of 13 artists from South Africa, Zimbabwe, Namibia and Nigeria. We worked closely with Whatiftheworld gallery in Cape Town to select artists who engage the thematic of textile and dress within their own practice.
Some, like Pierre Fouché, who uses bobbin lacemaking, and Lyndi Sales, who crochets large tapestries, work with sartorial crafts to create their artworks. Others, such as Sahlah Davids, who crafts sculptural pieces using dressmakers’ pins, and Tangeni Kambudu, who incorporates dressmakers’ patterns into his mirror works, use textiles and textile-related techniques as their primary medium.
Additionally, there are artists who approach the theme more conceptually. Athi-Patra Ruga, for example, creates lush and flamboyantly dressed characters in his tapestries and photographs, while Lakin Ogunbanwo explores the symbolic codes embedded in the materials draped on Nigerian brides in his photography. Each artist was selected for their ability to engage with the exhibition’s theme in a way that challenges, celebrates, and expands the narratives around textiles and dress.
A.S: What message do you hope visitors take away from this collection?
H.G: We hope visitors come away with a fresh perspective on the rich storytelling potential of textiles and dress, as well as a deeper understanding of contemporary art from the African continent. For those visiting Cape Town, we also hope this exhibition provides an opportunity to discover and appreciate more of the continent’s vibrant art scene. We want guests of the Mount Nelson to have an enriched experience of this iconic space—one where art adds another layer of inspiration and connection to their visit.
We see the Mount Nelson as a space of continuous transformation. With its iconic and central presence in Cape Town for the past 125 years, it’s important for the hotel to evolve alongside the city it inhabits. By including art that challenges ideas around race, gender, and sexuality, and situates itself as a critical voice in post-colonial conversations, the hotel invites new audiences to engage with and become part of this dynamic space.
A.S: Can you share challenges you faced in curating this exhibition for Mount Nelson?
H.G: It is always an exciting and interesting challenge to curate an exhibition that compliments the magnificent interiors of the hotel. We like to think of each reception space as one having its own individual mood and character, so we try to select and pair works by different artists that augments the specific experience of that room.
A.S: How did you bring together various art expressions, like photography and sculpture, into one exhibition?
H.G: The contemporary African art scene is inherently diverse, with artists working across a range of mediums and expressions. This diversity naturally informed our decision to include various artistic forms—like photography, sculpture, and textile-based works—in the exhibition.
A.S: How does this exhibition promote sustainable luxury and slow fashion?
H.G: This exhibition promotes an ethos of sustainability, featuring artists who work with recycled materials, offering fresh perspectives on how we view and value certain fabrics and objects. However, sustainability goes beyond material use. It’s about respecting fashion as an integral part of culture, not merely as a trend-driven commodity. The exhibition encourages us to reconsider the purpose of fashion, seeing it as a force for social and cultural formation rather than a product of overproduction and fleeting trends.
“Against the Bias: Unravelling Material Codes” will decorate the halls of this palm-fringed sanctuary with pieces by 13 of Africa’s esteemed contemporary artists, on display until February 2025. For more information, contact; Gabrielle Palmer, Regional Communications Manager, Belmond Southern Africa – gabrielle.palmer@belmond.com
