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ArtistCape TownSouth Africa

Muse and lover of the old arts anew.
Artist, whimsical activist, writer at a crossroads and a cooking thinker, boiling with new ideas and simmering realities.

Neo-expressionist, partial fauvist, political and environmental critic and anime fan

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Authorship, identity and individualism are some of the concepts with which the Renaissance man reformed art out of its religious setting and exclusive institutional commissions to coax its expression towards secular and contemporary events, affairs or personalities. Then those evolved qualities which forged what we are today tightly knitted who I am as an artist however as a lover of the past, old and antique I cannot avoid but be an oxymoron of my own modern self, fascinated with the frayed bygones.

Epicureanism and stoicism lay together in a quarreling yoke for the bigger piece of the pie, colliding collectivity and individuality, misanthropy and naivety, authorship and anonymity ruled by the fear of criticism I so keenly exhibit versus issues further being ignored to make a sincere and selfish account of a person enduring depression with a selfless intention to raise awareness and aid a world which frustrates her.

The true open-handed aim is to evoke a dissident message across without the blunt militant and antagonistic manner of propaganda of political art once utilised to change the world and its ideals through the crude and misconceived execution of communism and capitalism alike. Thus, I use influence peddling as a medium to placate and reconcile myself with the planet as a responsible citizen of it, exposing what to me are the actual questions we face instead of the penny-ant and contemptible issues of modernity reflecting on the past. I want to expose the dreadful pieces of puzzle that we are all ignoring before the full apocalyptic picture and point of no return comes knocking on our door.

The populous and its powers prime focus seems to be obfuscated with petty or secondary matters such as sexism or gender rather than equality, frivolous celebrity dust and Instagram 'influencers' alternatively to local start ups and underfunded humanitarian and artist organisations, design instead of innovated life changes, racism and taring down the past in lieu of learning progress, vengeance replacing forgiveness, twittering warlords in place of a nuclear winter aftermaths, and decidedly one of my key anxieties social media backlash rather than animal preservation, mass extinctions and consequential environmental disasters. Our environment is dying due to our horse with blinkers outlook, drowning in convenience and conformity to negate truth confused with disproportionate hysteria.

Through creativity my anxious frustration finds a somewhat angry peace which seeks to trigger a change in how we view, live, learn and think about our personal and communal realities. Therefore, like times of the old arts I employ a somewhat didactic 'pictionary' which merges frivolity with activism to capture the eye of the modern human, while also hiding ciphers and camouflaged inscriptions for those who desire to have a closer inspection to satisfy the curious mind and innovative fierce need for change we all seek.

The gold series demonstrates my passion for light and iridescence which muse on change throughout the day. Decided by the hour, these portraits and landscapes undergo a sea of change in mood. Morphing the story on faces, gazes and the topography of the embedded message, as well as gaining anew a more careful and revitalised appraisal from the viewer with every hour of light, nocturnal and diurnal. Iridescence and its luminous properties evolve the oxymoron within us and conformance which binds us.

Follow the light to enlightenment.


IBK (b. 1989) is a South African artist and writer born in Girona, Spain.

With a background in Archaeology and Ancient History, IBK graduated with a Joint Honours in African Studies and History of Art in 2013 from the University of Birmingham, Edgbaston, and it was only at the end of 2016 that IBK:The Second Green Lady was founded to follow her lifetime vocation.

IBK: The Second Green Lady is a pseudonym derived from her ties to the renowned ‘Chinese Girl’(1952-1953), painted by Vladimir Tretchikoff.

As a neo-expressionist creative with an affinity for animals, art, Classics, Renaissance, Latin, history, philosophy and nature IBK defines her artistry as an idiosyncratic take on mixed media surrealism, a partial fauvist experimenting with an array of techniques, environmental critiques, and portraiture. Most notably, each composition carries hidden symbolisms taken from the Western art canon, various faiths, political and environmental symposiums as well as including a covert inscription.

IBK employs a canvas as a visual didactic source, a Pictionary of sorts, to challenge, learn, and teach our potential impact in any cause. IBK has completed other environmental pieces in the past such as ‘Flower Power’ (2017) which fittingly contains a Latin transcription translating to “caution, caution for nature sees”, and ‘Donald’s Ratites’ (2017) and ‘Take Me to the Moon’ (2016) which bring forth a question about extinction versus consumption, an increasing population, animal conservation, climate change, and man’s politic feats against nature.

Please peruse IBK’s Facebook page for more content, previous works and literature accompanying each example with the artist’s references, stimuli and hidden features.

South Africa
Cape Town
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