PRESS RELEASE
SANELL AGGENBACH | NeoNature
Apr 9 – May 4, 2026
"a heavy numbness seized her limbs, thin bark closed over her breast, her hair turned into leaves, her arms into branches, her feet so swift a moment ago stuck fast in slow-growing roots, her face was lost in the canopy.”
- the transformation of Daphne, from Ovid’s Metamorphoses (8AD)
The world as we know it in March/April 2026 is besieged by two jarring realities: conflict and rapid change.
In preparation for this body of work, I revisited a theme I explored in 2015: the idea of Atopia (loosely described as ‘rootlessness’) in botanical hybrids. By fusing paper, metal and wood into new forms, I created shapes that are recognisable yet resilient within a rapidly changing world.
This concept resonates with the underlying message of Metamorphoses by Ovid: that change is the fundamental force governing the universe. Throughout the poem’s many myths, humans, gods and nature continually transform into new forms—people become trees, animals, rivers, stars or stones. These transformations illustrate that nothing in life is stable or permanent: identity, power, beauty and even the natural world are constantly shifting.
Another key theme is the complex relationship between power and vulnerability. The gods frequently transform mortals as punishment, protection or reward, revealing how fragile human life can be when confronted with divine authority. At the same time, transformation can preserve memory and meaning. A tragic figure might become part of nature, allowing their story to endure beyond suffering. Ultimately, Metamorphoses suggests that transformation is both destructive and creative.
Today, our natural world and political landscape are not merely experiencing disruption or gradual change; they are facing a sustained assault from unscrupulous world leaders and ill-advised lobbyists. The term “alternative facts” was popularised by Kellyanne Conway, a counsellor to Donald Trump, during a television interview in 2017. The remark quickly went viral and was widely criticised. Many commentators argued that the phrase implied that facts could have competing versions, contradicting the very meaning of factual evidence. As a result, the expression has become a symbol of political misinformation and the growing debate around truth in public discourse.
In the history of documenting the natural world, Pliny the Elder (23–79 CE) is best known for his 37-volume encyclopaedia Natural History. His writings demonstrate how ancient authors blended observation, myth and rumour when explaining the natural world. It is a fascinating record of straightforward fact interwoven with extraordinary fiction: the basilisk serpent supposedly killed with its gaze and poisonous breath; magnetic mountains were rumoured to pull iron nails from passing ships; and some gemstones were believed to shift between male and female forms.
NeoNature is my contemporary response to the state of our world today. It is rooted in the wonder of the natural world, but with a twist. Sculptures become placeholders for new hybrids, while paintings take the form of pseudo-scientific studies. This body of work is an amalgamation of wonder, humour and concern, and reflects on the importance of safeguarding creativity and culture in the face of an emerging AI revolution.
“Lovingly blend into one - find the more excellent world.”
from The Metamorphosis of Plants, by Goethe, 1797.
For any further enquiries please contact gallery@everard.co.za
