[et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.23.4″ global_colors_info=”{}”][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}” content__hover_enabled=”on|desktop” content__hover=”<\/p>\n
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[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.23.4″ _module_preset=”default” custom_padding=”16px|||||” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb title=”Tongue-tied (2000)” image=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/01\/tongue-tied-2005-scaled.jpg” _builder_version=”4.23.4″ _module_preset=”default” custom_margin=”-26px|||||” global_colors_info=”{}”][\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” _builder_version=”4.23.4″ _module_preset=”default” custom_margin=”-31px|||||” custom_padding=”0px|||||” global_colors_info=”{}”]<\/p>\n
Tongue-tied<\/em> (2000), is a bronze life-cast sculpture of two cow tongues twisted together. This work presents a compelling visual metaphor for the inability to speak. It suggests dual conditions: enforced silence and self-imposed muteness due to fear of retribution. As Streak articulates, “Tongue-tied is a visual expression of the inability to speak. It posits two simultaneous positions: voices silenced and disallowed to communicate and a self-imposed silence for fear of retribution.”<\/em><\/p>\n This concept parallels Martin Niem\u00f6ller’s reflection on the consequences of inaction:<\/p>\n “First they came for the socialists, and I did not speak out\u2014because I was not a socialist. Then they came for the trade unionists, and I did not speak out\u2014because I was not a trade unionist. Then they came for the Jews, and I did not speak out\u2014because I was not a Jew. Then they came for me\u2014and there was no one left to speak for me.”<\/em><\/p>\n [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_divider color=”#000000″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”2_5,3_5″ _builder_version=”4.23.4″ _module_preset=”default” custom_padding=”||0px|||” global_colors_info=”{}”][et_pb_column type=”2_5″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb title=”Home (2004)” image=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/01\/home-2004-scaled.jpg” _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_blurb][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb title=”Home (2004) ” use_icon=”on” _builder_version=”4.23.4″ _module_preset=”default” min_height=”437px” custom_padding=”7px||0px|||” global_colors_info=”{}”]<\/p>\n Mild steel, MDF, paint. 500 mm x 350 mm x 350mm<\/p>\n Home<\/em> (2004) is a conceptual sculpture that serves as a parodic response to Bruce Nauman\u2019s The Center of the Universe<\/em> (1988). Nauman’s commissioned work, a concrete structure with tunnels extending towards the cardinal directions and an opening to the sky at the centre, symbolises the cosmological notion that the universe expands uniformly in all directions. This principle implies that any point can be considered the centre of the universe, encapsulating a paradoxical sense of universality and centrality.<\/p>\n In contrast, Home (2004)<\/em> distills this idea into a solid MDF block, emulating the archetypal shape of a house. It is bisected by a 50mm mild steel square tube, echoing Nauman’s cardinal tunnels. This structural element serves both as a physical reference to Nauman’s work and as a metaphorical commentary on the concept of ‘home’ as a central, yet ambiguous, notion in human experience.<\/p>\n “The concept of home is also a constitutive metaphor in much political debate, and has been instrumental in the shaping of the public\u2013private distinction” (Davies 2014: 153). By juxtaposing the familiar image of a house with the abstract idea of cosmic centrality, Home <\/em>(2004) explores the tension between private sanctuaries and universal principles, inviting viewers to reflect on the fluid boundaries between personal space and broader existential or political frameworks.<\/p>\n <\/p>\n [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_divider color=”#000000″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_4,1_4,1_4,1_4″ _builder_version=”4.23.4″ _module_preset=”default” custom_margin=”-6px|auto||auto||” custom_padding=”15px|||||” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb title=”Alexandria (2005)” image=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/01\/alexandria-overall.jpg” _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb image=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/01\/detail1.jpg” _builder_version=”4.23.4″ _module_preset=”default” min_height=”192.1px” custom_margin=”||8px|||” global_colors_info=”{}”][\/et_pb_blurb][et_pb_text _builder_version=”4.23.4″ _module_preset=”default” min_height=”65.4px” custom_margin=”-19px||-34px|||” global_colors_info=”{}”]<\/p>\n Bronze, life-cast, one-of<\/em>. Produced for the exhibition titled \u2013 Twist in the Tale<\/em> \u2013\u00a0curated by Virginia Mackenny for the Klein Karoo Kunstfestival (KKNK), 2005.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb image=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/01\/detail2.jpg” _builder_version=”4.23.4″ _module_preset=”default” min_height=”185.1px” custom_padding=”||0px|||” global_colors_info=”{}”][\/et_pb_blurb][et_pb_blurb _builder_version=”4.23.4″ _module_preset=”default” custom_margin=”-40px|||||” custom_padding=”0px|||||” global_colors_info=”{}”]<\/p>\n Alexandria is a feminine form of Alexander originating from Greece, meaning \u201c<\/span>defender of humankind\u201d or \u201cdefender of the people.\u201d Female sacrifice matters too.\u00a0<\/span><\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb image=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/01\/detail3.jpg” _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_blurb][et_pb_text _builder_version=”4.23.4″ _module_preset=”default” custom_margin=”-52px|||||” global_colors_info=”{}”]<\/p>\n Collection: Sasol Art Collection<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_divider color=”#000000″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”2_5,3_5″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”2_5″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb title=” The Apartment (2007)” image=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/01\/The-apartment-2007-scaled.jpg” _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_blurb][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb use_icon=”on” _builder_version=”4.23.4″ _module_preset=”default” custom_margin=”-19px|||||” custom_padding=”0px|||||” global_colors_info=”{}”]<\/p>\n <\/span><\/p>\n “Greg Streak is an interdisciplinary practitioner working in sculpture, video, installation and documentary filmmaking. His work is characterised by formalistic concerns and a preoccupation with the materiality of substance and things, but also space, both physical and psychological”. \u2013 Dr Kathryn Smith<\/span><\/p>\n <\/span><\/p>\n In 2007, I was awarded the Ampersand Fellowship \u2013 a three month residency in an apartment in TriBeCa, New York City with no expectations other than to assimilate and contemplate for future creative ventures.<\/span><\/p>\n The Apartment<\/em> (2007) is a minimalist architectural sculpture crafted from balsa plywood, embodying a duality that speaks to both retreat and homage. On one hand, it offers a respite from the imposing jungle of urban monoliths made of glass, concrete, and steel, creating an intimate internal space. On the other hand, it pays tribute to these very structures, mimicking their stern, impenetrable facades. This duality reflects the intertwined nature of physical and psychological spaces, where the internal sanctuary contrasts sharply with the external coldness, evoking both solace and isolation.<\/p>\n Collection: Ampersand Foundation<\/p>\n \n [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_divider color=”#000000″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb image=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/01\/some-things-2012_2-e1706106272153.jpg” _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n Some Things Are Better Left Unsaid (2008)<\/strong><\/p>\n “Greg Streak\u2019s piece, Some Things<\/em><\/span>\u00a0Are Better L<\/em>eft Unsaid <\/em>(2008),<\/em>consists of a <\/span><\/span>cross constructed out of energy sav<\/span>ing light bulbs. The cross\u00a0<\/span><\/span>correlates <\/span>perfectly to an actual statue of\u00a0<\/span><\/span>Christ <\/span>on the cross on the other side of the <\/span>road, on the grounds of a\u00a0<\/span><\/span>Catholic <\/span>Church. While the gallery is acces<\/span>sible to the public, the church is less <\/span>so, surrounded by security fencing”.(Machen 2008: n.p.)<\/span><\/p>\n <\/span><\/p>\n [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_divider color=”#000000″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.23.4″ _module_preset=”default” custom_padding=”1px|||||” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/01\/dyslexic_overall-17-scaled.jpg” title_text=”Mapping a Dyslexic Heart. 2009. Lead, cotton, stainless steel pins, steel wire cable” _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/01\/dyslexic_detail-8-scaled-e1706099922113.jpg” title_text=”Mapping a Dyslexic Heart \u2013 detail. 2009.” _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.23.4″ _module_preset=”default” custom_margin=”-50px|||||” custom_padding=”8px|||||” global_colors_info=”{}”]<\/p>\n Marquette for Mapping a Dyslexic Heart<\/strong> (2009). Lead, cotton thread, stainless steel pins, steel-wire cable. 500mm x 300mm x 30mm.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.23.4″ _module_preset=”default” custom_margin=”-85px|||||” custom_padding=”13px|||||” global_colors_info=”{}”]<\/p>\n \n \n In a peregrination between process, material and ideas, one of the strongest works on exhibition is Greg Streak\u2019s Marquette for Mapping a Dyslexic Heart<\/em>. Masterfully evocative, this conceptual rendering of emotional dysfunction a result of \u2018the inability to place oneself \u2013 both physically and emotionally\u2019 is conveyed as a corrugated lead plateau pitted by undulations, pins and attached embroidery cotton. Here material deployed reminds of the tenacity of the ordering impulse of the mind (pins, thread, undulations) despite the overwhelming weight of a dysfunctional (dyslexic) reality (lead). Originating in, while at the same imploding notions of assumed and perhaps even desirable order, Streak simultaneously de- and reconstructs a sense of cohesion and direction associated with lived experience, instead plotting a terrain marked by chaos, disconnectedness, the unpredictable and the illogical.\u00a0 \u00a0\u2013 Professor Juliette Leeb-du Toit\u00a0<\/em><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_divider color=”#000000″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.23.4″ _module_preset=”default” custom_margin=”-35px|||||” global_colors_info=”{}”]<\/p>\n Abacus for Longing<\/strong> (2009). Mild steel tube, wire ties, steel wire cable, eye hooks. 1800 x 1150 x 180<\/span>\u00a0mm.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”3_5,2_5″ _builder_version=”4.23.4″ _module_preset=”default” custom_margin=”-36px|auto||auto||” custom_padding=”29px|||||” global_colors_info=”{}”][et_pb_column type=”3_5″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/01\/Abacus-overall-scaled-e1706102357802.jpg” title_text=”Abacus overall” _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”2_5″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/01\/abacus-detail1-scaled.jpg” title_text=”abacus-detail1″ _builder_version=”4.23.4″ _module_preset=”default” min_height=”637.3px” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”3_5,2_5″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”3_5″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/01\/abacus_detail3.jpg” title_text=”Marquette for Mapping a Dyslexic Heart \u2013 detail. (2009).” _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_blurb _builder_version=”4.23.4″ _module_preset=”default” custom_padding=”|0px||||” global_colors_info=”{}”]<\/p>\n Abacus for Longing<\/em> (2009) serves as a poignant metaphor for absence and longing. This conceptual work comprises approximately 10,000 wire ties, each meticulously held in place by wire gyres. The sheer abundance of these wire markers, paradoxically, signifies an emotional vacuum. Each tie, akin to the scratches on a prison wall, represents an attempt to register and record loss. The dense accumulation of ties becomes a visual and tactile representation of yearning, where the repetition and multiplicity of elements underscore the depth and persistence of emotional absence. Through this use of everyday materials, Abacus for Longing<\/em> transforms the act of marking time and memory into a powerful commentary on the human experience of longing and the seemingly futile attempts to quantify and document the intangible.<\/p>\n [\/et_pb_blurb][\/et_pb_column][et_pb_column type=”2_5″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/01\/abacus_detail2-scaled-e1706103766566.jpg” title_text=”Marquette for Mapping a Dyslexic Heart \u2013 detail. (2009).” _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_divider color=”#000000″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/01\/cradle-to-hide-from-the-world-2010-2.jpg” title_text=”cradle to hide from the world (2010)” _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_blurb _builder_version=”4.23.4″ _module_preset=”default” min_height=”299px” custom_padding=”3px|||||” global_colors_info=”{}”]<\/p>\n Cradle to Hide from the World (1 of 2 parts)<\/strong> 2010<\/span><\/p>\n <\/span><\/p>\n “Greg Streak’s piece, titled <\/span>Cradle to Hide from the World (1 of 2 parts)<\/i>, is itself contained in the most constrained corner of the gallery: as such it offers an example of how curation affects the meaning of a work. If the piece – a powder-coated white metal cradle that is also reminiscent of a cage – had been hanging from the centre of the gallery, the effect – and meaning – would have been subtly but substantially different. Like much of Streak’s work, it is both beautiful and sinister, balancing the cold and hard with the warm and protective”. (Machen 2009: n.p.)<\/span><\/p>\n [\/et_pb_blurb][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_divider color=”#000000″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” custom_margin=”-30px|auto||auto||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/01\/flash-dream-2014-1-scaled.jpg” title_text=”flash dream (2014)” _builder_version=”4.23.4″ _module_preset=”default” custom_padding=”0px|||||” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 Flash Dreams<\/strong>\u00a0(2014) , carved Jacaranda, 600mm x 150mm x 200mm.<\/span><\/p>\n <\/span><\/p>\n Flash Dreams<\/em> (2014) is a sculptural piece carved from Jacaranda wood. Inspired by the traditional Zulu headrest, which is designed to compress the pituitary gland at the back of the neck, it aims to induce a dream state and facilitate a connection to the ancestors. This ancient practice contrasts sharply with our contemporary obsession with technology, where we remain \u201cplugged-in\u201d even as we seek rest and disconnection.<\/p>\n Flash Dreams<\/em> embodies a deliberate synthesis of the traditional and the technological. This ‘cyborg dream pillow’ merges the tactile, organic qualities of wood with the concept of modern connectivity, symbolizing a collision and cross-pollination of two distinct worlds. By juxtaposing these elements, the piece explores the convergence of ancestral spirituality with the pervasive influence of technology in our lives, inviting viewers to reflect on how these forces shape our experiences, even in sleep.<\/p>\n<\/div>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_divider color=”#000000″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/06\/Overall.jpg” title_text=”Applying my Mind (2015)” _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/gregstreak.com\/wp-content\/uploads\/2024\/06\/zuma-detail.jpg” title_text=”Applying my Mind (2015) \u2013 detail” _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” min_height=”188.9px” custom_padding=”0px|||||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.23.4″ _module_preset=”default” min_height=”40.4px” global_colors_info=”{}”]<\/p>\n Title: Applying my Mind<\/strong> (2015)\u00a0 | carved Jacaranda wood\u00a0 |\u00a0 \u00a0800mm x 300mm x 350mm\u00a0 |\u00a0 \u00a0Seventy eleventy six hundred thousand million and ten.<\/p>\n \n [\/et_pb_text][et_pb_text _builder_version=”4.23.4″ _module_preset=”default” min_height=”151.2px” custom_margin=”||-2px|||” custom_padding=”0px|||||” global_colors_info=”{}”]<\/p>\n The sculpture, Applying my Mind<\/em> (2015), depicts a headless figure dressed in a suit, identified as former South African President Jacob Zuma. This figure holds its own head in its hands, positioned in front of the groin area. The head is detailed, featuring recognisable facial characteristics and eyeglasses, making the depiction unmistakably Zuma. The sculpture\u2019s title and exaggerated pricing mock Jacob Zuma\u2019s numerical blunders and controversial public statements. The headless figure represents a disconnect between his actions and his public persona, with the placement of the head suggesting the perceived lack of direction and accountability during his presidency. The head’s positioning hints at the idea that Zuma’s decisions were influenced more by personal and instinctual motivations than by rational or ethical considerations. This placement critiques his perceived impulsiveness and indulgence in personal matters over public responsibilities.<\/p>\n In an exhibition setting, this work invites viewers to consider the complex interplay between personal life and public responsibility in political leadership. The humorous yet pointed representation of Zuma, combined with the head\u2019s symbolic placement, effectively engages the audience, prompting reflection on the dynamics of power, accountability, and personal conduct in political figures.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.23.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_divider color=”#000000″ _builder_version=”4.23.4″ _module_preset=”default” min_height=”49.4px” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" selected past works Tongue-tied (2000), is a bronze life-cast sculpture of two cow tongues twisted together. This work presents a compelling visual metaphor for the inability to speak. It suggests dual conditions: enforced silence and self-imposed muteness due to fear of retribution. As Streak articulates, “Tongue-tied is a visual expression of the inability to speak. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"it's coming ...","_et_gb_content_width":"","footnotes":""},"class_list":["post-580","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/gregstreak.com\/index.php?rest_route=\/wp\/v2\/pages\/580","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gregstreak.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/gregstreak.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/gregstreak.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/gregstreak.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=580"}],"version-history":[{"count":62,"href":"https:\/\/gregstreak.com\/index.php?rest_route=\/wp\/v2\/pages\/580\/revisions"}],"predecessor-version":[{"id":2121,"href":"https:\/\/gregstreak.com\/index.php?rest_route=\/wp\/v2\/pages\/580\/revisions\/2121"}],"wp:attachment":[{"href":"https:\/\/gregstreak.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=580"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}