In the paintings of Ebenezer Samuel Akinola, movement becomes ritual. His figures traverse imagined ceremonial spaces with the solemnity of a procession, suspended between the contemporary and the ancestral, the intimate and the mythic. Constructed through carefully staged performances and translated into paint with remarkable technical precision, Akinola’s works combine cinematic storytelling, spiritual symbolism, and collective presence. Through flowing drapery, ambiguous narratives, and contemporary mythologies, the artist transforms the modern body into a vessel of memory, ritual, and passage.

Reframing Visibility brings together women artists whose practices explore presence, perception, and the conditions through which women are seen and interpreted. Across painting, sculpture, and experimental forms, the exhibition considers visibility not as a fixed state, but as a complex and contested field shaped by social expectation, resistance, and self-definition.

A solo show by South African and Spanish artist Pierre Louis Geldenhuys, reflecting on the natural environment using innovative and intuitive techniques that unravel humanity's relationship to mother nature. He was featured at The 2026 Investec Cape Town Art Fair.

Eclectica Contemporary is pleased to present The Valley of the Red Gods, a solo exhibition by renowned colourist painter Cathy Layzell. This exhibition positions abstraction as a form of reverence. Situated through the conceptual and chromatic hue of Red Disa, the reflective nature of colour and light becomes a way for us to see nature as fractal, invoked. Nature is not romanticised , it is entered through a manifestation of Red Disa. Layzell’s paintings ask the viewer to slow down, to look as one looks into water , aware that what is seen is inseparable from what is felt.

Muofhe Manavhela's personal, intimate works depict the shared, experiences livelihoods of Black women in the greater community of South Africa, spanning across time, and transcending it - Manavhela's art delves into portraiture as a form of showing love, pleasure, youth, sexuality, regality and the domesticity of Black womanhood. Through tracing a matriarchal history, fragmented history is brought back into the canon and depicted as thoughtful, honouring pieces centering the people Manavhela admires and chooses to depict with honesty, and lightness.

Richard Nattoo's solo exhibition, The Passage Between Worlds, sees Jamaican folklore and cosmology transmute into a reclamation of broader cultural and spiritual practices that have been misrepresented by a Western lens. Here, Nattoo's construction of mythologies oscillates between the seen and unseen, where liminal states infuse each work with otherworldly charge, suspended between revelation and ritual. Initially an exploration of Jamaica's masquerade tradition known as Jonkonnu, a vibrant, hybrid festival that emerged during slavery, this construction of Jamaican mythos becomes a way to reclaim and rewrite spiritual authorship, and shift the gaze of 19th-century colonial observation to one that champions agency over spiritual figures and icons within the culture. Ultimately, this exhibition sees Nattoo transforming folklore into philosophy, and depicting cultural symbiosis in real time.