The Colony (Occupy) is the second chapter of my images originating at Dalebrook ocean tidal pool close to my home in Cape Town. I started swimming there during the time The Occupy movement beset Wall Street in 2011.

I was interested in the fact that they were protesting the corruption of Capitalism without a campaign for an alternative economic model. During this time I started noticing how shooting against sunrise light at a certain slant brought about imagery that made the water look like molten gold and diamonds. I started watching the price of gold and other stocks on the world markets and became interested in how these very emotional models of human interaction pretty much determined my present and future and also how very little I understood of a force that determined the shape of my life. Looking at concepts of Capital and money also fit into my continuing interrogation of masculinity, patriarchy and how that fits body and identity.

The installation of this work consist of 260 gold-in-the-ocean images, 260 days of gold price graphs and a 365 day graph of the ocean tide. 260 is the number of working days in the Western calendar, the days on which we trade.

The juxtaposition speaks to ideas around workdays, capital and the ordinary man’s integration of those concepts into daily life. In this case the ordinary man is an artist who looks at ocean water everyday and continually considers ideas of masculine constructs. I say man because in the system of patriarchy a man is still expected to muster the concept of money, most of his humanness measured by this.

The installation includes images of suited men in the ‘golden pool’ which points to power constructs and hierarchies inside of constructed boundaries people colonise in nature. The images serve as a metaphor for such colonisations.

The Colony (Phase II – Occupy) follows The Colony (Phase I – Under construct) which grappled with constructed male identity, harsh silhouetted outlines of suited male bodies above more unstable and fragmented reflections in the water under them. The images thus considered more flowing identities.