This site-specific work was initiated in Lady Grey on 1 January 2000. Amidst rumors of a so-called apocalypse, the first day of the new millennium was significant for its historical moment. In reflection of rituals of changes in seasons, my documentation focused on the bond between the stable and the plowed land, with a harrow lying in close proximity. Rather than a doomsday experience, my exploration referred to the promise of an evolving new season.

In relation to the different seasons, I aimed to show the work in phases of change through the coming year. Rather fortuitously, it was exhibited in four different venues through that year. In every venue the work was transformed into a new format and on the fourth exhibition all the separate parts were merged into one large 'skin.'

Research documentation of the site of Earth Skin. 2000

On the frist day of the new millenium, Lady Grey

As this work was exhibited throughout that year in four separate localities, it changed to a new format in accordance with each site to reflect process, labor, and the changing seasons. The images provided evidence of the work in different sites and the material changes that took place over time:

First installation: As part of an art festival in Lady Grey, the Earth Skin installation was sited in the stable beside the ploughed land and the harrow that had inspired the work and positioned alongside an installation by Heleen du Preez.
Second installation: At the Unisa Art Gallery in Pretoria, it formed part of an exhibition entitled Land, curated by Koos van der Watt.
Third installation: It was featured in the Thami Mnyele Fine Arts Awards (top 100) in Kempton Park.
Fourth installation: Exhibited at Millennium Art Gallery in Pretoria as part of the duo show Cross-cut Criss-Cross with Karin Lijnes. After this exhibition, Earthskin was taken up into the Unisa Art Collection at the end of 2000. It remained in its final form and was exhibited again at the Recent acquisitions exhibition at the Unisa Art Gallery in 2003.