Incorporating sculpture, installation, video and performance, Bronwyn Katz’s practice engages with the concept of land as a repository of memory, reflecting on the notion of place or space as lived experience, and the ability of the land to remember and communicate the memory of its occupation. Expressed in an abstract and minimal visual language using found and discarded bedsprings and mattresses, her wall- and floor-based wire sculptures are an exploration into the charting of existing places and memories as well as imagined spaces, or dreamscapes, and with them she investigates the potential of her materials to serve as markers and representations of space and memory.

"For a series of minimal ‘sculptural drawings’, Katz uses whole or fragmented bed frames meticulously knotted with wool – a warm and soft material, that instead speaks of the labour of care. The sharp lines of these sculptures, stretched taut against the wall, are suggestive of everyday objects such as a ladder, a picture frame or a window. Connecting the personal with the collective, the
‘ghost forms’ of Katz’s sculptures locate the idea of a living entity not only within memory but embedded in the material trace. ‘I am interested in the possibility of these sculptural drawings being read as markers of movement (forced or voluntary), or markers of space or place that has been occupied,’ she has stated. For Katz, the poetic reactivation of memory and ancestry is a way of addressing the subconscious impact of history. Titling all the works in the exhibition after constellations or stars offers a means of tracing her own ancestral line, whose lineage, like so many other Black South Africans, has been partially eradicated by the structures of colonialism. Katz’s allusion to the infinite motions towards the idea of an expansive freedom, driven by a longing for a universal space unbound by political systems."
Text from "Inside the White Cube, Bronwyn Katz, I turn myself into a star and visit my loved ones in the sky." May 2021