Dorothee Kreutzfeldt
b. 1970, Namibia
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 In a 2018 series of works on paper, titled Notes from the Bricklayer’s Yard, Dorothee Kreutzfeldt combines the process of drawing and collaging, softground etching and chine-colle. The works are based on a photograph taken by the artist in a suburb in Johannesburg as part of an ongoing practice of documenting urban surrounds and thinking through the lexicon of the environment, where fantasy house meets back yarding, offsetting the mundane elements of architecture that differentiate habitation. The series can be seen as a form of meditation, not yet concluded, beginning with a single moment and returning to soilm tissue and invisible labour.


1.1. At 2am the low brick periphery wall off a corner house is hit by a car. In the impact, a perfectly shaped saddle or valley is carved into the wall. Over the next few days residents of the house pick up the scattered bricks and place them, one by one, back into the missing section. Local municipality does little to maintain the streets, lights or pavement, leaving the bricks in their balancing act for years. Bertrams, 2017

1.2. Bricklayers from the neighbouring country are employed for their cheap labour in building a new shopping arcade in the city centre. When the built structure is inaugurated, the officials realise that the builders have integrated darker bricks into the façade to make up the image of their national symbol, an eagle. They are told to demolish their brickwork and rebuild the façade. The bricklayers do so but never stop laughing. Hamburg. 1980

1.3.  14 drop manual brick making machine with vibrator for sale, R 25000. Able to do 6000 bricks per day. Machine has single phase vibrating motor. Mould is standard size cement stock (mampara) bricks. Comes with 2 x material feeder rakes. Very easy to use. Kagiso, Westland. 2019











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