It's OK - Micha Serraf by Micha Serraf at White Label Project
It's OK - Micha Serraf by Micha Serraf at White Label Project

It's OK - Micha Serraf

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Exclusive edition of 12 pieces. Art photography by South African photographer Micha Serraf based in Capetown - 2016. 

A limited edition is the fixed number of copies for one individual artwork indicating how often it exists worldwide. Each print comes with a Certification of Authenticity hand signed by the artist.

Navigating post-apartheid South Africa as an alien renders many of my experiences surreal. The foreign nature, of both the socio-political and physical landscapes of South Africa, is continuously reinforced by the actions, reactions and interactions I have while on South African soil. In the year I was born, 62 school children encountered extraterrestrials in Harare and were all individually able to identically describe the encounter in detail. Being constantly reminded by the world that I am of alien origin has led me to investigate this side of myself.

My work is informed by memories I have from when I was a child in Zimbabwe and my endeavour to understand the nostalgia I feel toward the unfamiliar. In an attempt to figure out what I am and where I belong - I will continue to make visual my memories, thoughts and narratives. Christa Dee wrote about my work saying: “We are each involved in a lifelong theatrical show. We each play multiple roles, constructing, interpreting and negotiating various social parameters. The end goal of this performance being the amalgamation of meaning- making, shared connection and belonging."

For more information on Sizes & Print Materials, visit Fine Art Prints

Keep prints out of direct sunlight. Avoid heat and humidity. Before framing, acid-free archival mat is recommended to avoid direct contact between the print and glass.

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Meet Micha Serraf

Micha Serraf was born and raised in Zimbabwe and fled to South Africa where he is currently based. In the mobility that has been a defining factor of his life, Micha has taken note of the behavior of themselves and other foreign nationals in their navigation of post-apartheid South Africa. They are acutely aware of the safest shape they need to take on to survive particular contexts. This fluid presentation of self and the ability to be malleable are tactics used to access acceptance and camouflage. In this exposure to several ways of existing, Micha has experienced and observed a variety of gender norms, enactments, and ideologies.

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