Redrawn Territories

Sibhayi/Mesquite
2016
Digital drawing, archival inks on Innova paper, 84 x 112 cm

The respected author, Jill Bennett, observed that ‘Younge’s work is concerned with traces. His work … like Doris Salcedo, is less concerned with metaphor than with metamorphosis.’

In line with this statement, Younge presents a series of works on large-format German etching paper. Called Redrawn Territories, these drawings explore aspects of the South African landscape from a cartographic point of view. Working from 1:50 maps provided by Michelle Denner, Senior Geomatics Manager at the ‘map office’ in Cape Town, Younge carefully draws contours and the outlines of waterways using a pen and tablet. The resulting lines are based on geo-spatial information, but like real maps, they are fabricated.

Gariep/Rooikrans
2016
Digital drawing, archival inks on Innova paper, 84 x 112 cm

Scant annual rainfall in South Africa led to the construction of large dams, important for irrigation, but hazardous for the environment because they disrupt river-borne flows of freshwater and nutrients into oceans. In addition, poor farming methods (over grazing and lack of crop rotation) and climate change has resulted in desertification. Attempts to stabilise sand dunes have brought alien plant species to our shores, and eutrofication (contamination of water via fertilisers) has choked dams and waterways with algal bloom and noxious weeds such as the rather beautiful, but ultimately deadly water hyacinth. In six ‘maps’ of different parts of South Africa, Younge has superimposed hand-drawn alien plants. Following Jean and John Camaroff, Younge’s palimpsests ask, ‘when will invasive plants become an urgent political question?’ Younge’s alien species hover over his redrawn territories like a spectre, bringing depth and complexity to his otherwise seductive reinterpretations of veld and vlei.

Peninsula/Lantana
2016
Digital drawing, archival inks on Innova paper, 84 x 112 cm

The Earth is spherical, paper is flat. This essential truth means that ALL maps are inherently approximate. In order to render the world, at reduced scale, on a piece of paper, cartographers have had recourse to what is known as ‘projections’. Tom McCarthy writes, ‘Projections are not neutral or “given”: they are constructed, configured, underpinned by various – and quite arbitrary – conventions. When drawing up a map, a cartographer must choose between zenithal, gnomonic, stereographic, orthographic … or sinusoidal modes of projection – each of which bring as many disadvantages as benefits.’

Younge’s redrawn territories support his robust works in steel – on occasion they reference the same geophysical landmark – Lake Sibhayi in the iSmangaliso Wetlands for instance. Or Gariep. In all instances they begin a conversation about the environment, our place in it, and the part we need to play to preserve it.