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	<title>Kobie Nel</title>
	<link>https://kobienel.com</link>
	<description>Kobie Nel</description>
	<pubDate>Fri, 24 Jul 2026 19:14:28 +0000</pubDate>
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		<title>index</title>
				
		<link>https://kobienel.com/index</link>

		<pubDate>Wed, 15 Feb 2023 06:23:24 +0000</pubDate>

		<dc:creator>Kobie Nel</dc:creator>

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		<title>bed</title>
				
		<link>https://kobienel.com/bed</link>

		<pubDate>Fri, 28 Mar 2025 06:56:32 +0000</pubDate>

		<dc:creator>Kobie Nel</dc:creator>

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	bed &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	
	Solo exhibition, Haus N Athen, Athens, Greece, 2024


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		<title>Untitled Page</title>
				
		<link>https://kobienel.com/Untitled-Page-1</link>

		<pubDate>Fri, 24 Jul 2026 19:14:28 +0000</pubDate>

		<dc:creator>Kobie Nel</dc:creator>

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		<description>
	Spirit Rapping I
	


&#60;img width="1718" height="1145" width_o="1718" height_o="1145" data-src="https://freight.cargo.site/t/original/i/76a10174a3b4415c2461ff14ff635fbdc9b1b3e4fd89b30ae0b0e0ab25f2bc79/KN_SpiritRappingI_1.jpg" data-mid="250698950" border="0"  src="https://freight.cargo.site/w/1000/i/76a10174a3b4415c2461ff14ff635fbdc9b1b3e4fd89b30ae0b0e0ab25f2bc79/KN_SpiritRappingI_1.jpg" /&#62;Spirit Rapping II
	&#60;img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/164c5fd9961e564eaaa9a3556fd84ca947225cf84dbe4ffa13c9e8ca58061461/_92A3444-Edit.jpg" data-mid="250698952" border="0"  src="https://freight.cargo.site/w/1000/i/164c5fd9961e564eaaa9a3556fd84ca947225cf84dbe4ffa13c9e8ca58061461/_92A3444-Edit.jpg" /&#62;</description>
		
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		<title>Advice of Ancestors</title>
				
		<link>https://kobienel.com/Advice-of-Ancestors-3</link>

		<pubDate>Tue, 26 Sep 2023 18:37:02 +0000</pubDate>

		<dc:creator>Kobie Nel</dc:creator>

		<guid isPermaLink="true">https://kobienel.com/Advice-of-Ancestors-3</guid>

		<description>
	Advice of Ancestors &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	
	Installation exploring geological time, inheritance and memory through foam rubber, fossils, paper money, found objects and exposure to daylight.Installation View: Høstutstillingen 2023, Kunstnernes Hus, Oslo, NBK Photo: Vegard Kleven



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‘Advice of Ancestors’ is encountered almost like a cave wall. From a distance, the installation appears as an expanse of fleshy pink foam; on closer inspection, small objects emerge from its surface — trilobites, fossils, meteorites and paper money. These objects come from Nel’s personal collection of what she thinks of as “planetary time objects,” bringing geological, cosmic, economic and personal histories into proximity.


The banknotes are concealed within the foam in reference to Nel’s grandmother, who hid money inside her mattress. Alongside fossils and meteorites, this intimate gesture of inheritance becomes part of a much larger field of temporalities, where ancestral memory extends beyond the familial and human.


Daylight enters the installation as an active force. Over the duration of the exhibition, sunlight gradually stains, marks and deteriorates the pink foam. Objects placed on its surface interrupt this exposure, leaving pale “ghost forms” behind when removed. Some of these traces remain from previous installations, allowing earlier configurations and environments to persist within the material.


The foam therefore operates as both surface and recording device: absorbing light, retaining traces and altering the acoustics of the room through its capacity to absorb sound. Rather than remaining a stable support for the objects it contains, the material continually registers its encounters with bodies, objects, architecture and light.


The materials within ‘Advice of Ancestors’ inhabit radically different durations — from meteorites and prehistoric fossils to banknotes and industrial foam whose colour is inherently unstable. Their coexistence brings human memory into contact with geological and planetary time, while the installation itself continues to change, carrying traces of one place and moment into the next.




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		<title>Advice of Ancestors</title>
				
		<link>https://kobienel.com/Advice-of-Ancestors</link>

		<pubDate>Tue, 07 Feb 2023 07:49:27 +0000</pubDate>

		<dc:creator>Kobie Nel</dc:creator>

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		<description>
	Advice of Ancestors &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
	

	



Installation exploring geological time, inheritance and memory through foam rubber, trilobite fossils, paper money, aluminium, polycaprolactone, glass, PVC and UV rays.
Installation view: Norsk Billedhoggerforening, Oslo, 2022.


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	<item>
		<title>Mother's Ectoplasm</title>
				
		<link>https://kobienel.com/Mother-s-Ectoplasm</link>

		<pubDate>Tue, 07 Feb 2023 07:49:27 +0000</pubDate>

		<dc:creator>Kobie Nel</dc:creator>

		<guid isPermaLink="true">https://kobienel.com/Mother-s-Ectoplasm</guid>

		<description>
	



Mother’s Ectoplasm 
	Exhibition view: Norsk Billedhoggerforening, Oslo, 2022


	
	












In the exhibition Mother's Ectoplasm, the interaction between the present and the past, the immaterial and the material, is explored, a result of Nel's fascination with the stories of ectoplasm. The term was first used by Charles Richet, a French physiologist who won the Nobel Prize in 1913. Ectoplasm, from Greek ektos ("outside") and plasma ("something shaped"), is a mythical substance that is allegedly transferred from a medium's body in connection with spiritualist sessions with the spirit world. According to the theories, ectoplasm is located in the transition between the etheric and the physical plane and therefore made it possible for the spirits to "take physical form" on/in this substance, which often came out of the medium's nose or mouth during the séances.


Accounts from the early 20th century describe ectoplasm as a smooth material or about a substance that started as completely translucent and then gradually materialised. Some said that ectoplasm gave off a strong smell, while others told of a matter that glowed faintly, sometimes luminescent, and that disintegrated when exposed to light. With an artistry that has mutated from photography, Kobie Nel's installations always express an interest in the components of light and color, which is also evident in this exhibition where the daylight from the windows takes on an active role in gradually changing the color of the foam rubber material in the exhibition, and thus leave their mark on the installation; as in a Camera Obscura. The property of the foam rubber material also absorbs sound and contributes to a sensory experience as it subtly changes the acoustics of the room.


In addition to subtle components such as sound and light, the exhibition consists of several other works and details in various materials. The main work in the exhibition, Mothers Ectoplasma, is a large glass work; a sunken headless female figure, activated by the light in the room so that it can also resemble a landscape, or an ice sculpture. In several places in the exhibition, traces of "ectoplasm" can be seen, as small hints of a spiritual presence. By using the Bildedhoggerforeningen's gallery space as a sketchbook, Nel has worked out a site-specific installation that tries to give the public a sensory experience where reality and fantasy merge.




&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;




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	</item>
		
		
	<item>
		<title>Mother's Ectoplasm</title>
				
		<link>https://kobienel.com/Mother-s-Ectoplasm-1</link>

		<pubDate>Tue, 07 Feb 2023 07:49:28 +0000</pubDate>

		<dc:creator>Kobie Nel</dc:creator>

		<guid isPermaLink="true">https://kobienel.com/Mother-s-Ectoplasm-1</guid>

		<description>
	Mother’s Ectoplasm&#38;nbsp;
	Installation View:&#38;nbsp; Solo exhibition, Gyldenpris Kunsthall, Bergen, 2021

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“I asked to see ‘the sample of ectoplasm.’


The librarian looked at me strangely and said, ‘Are you sure? It’s very nasty.’


I thought there might be a desk of shame where I could be supervised so the other readers would not be disturbed.


He said, ‘No, but be discreet.’”*


‘Mother’s Ectoplasm’ moves between the material and immaterial, taking as its point of departure the strange histories of ectoplasm and the desire to give physical form to something that cannot ordinarily be seen.


In early twentieth-century Spiritualism, ectoplasm was described as matter emerging from the bodies of mediums during séances — an unstable substance through which an invisible presence could temporarily assume form. Accounts describe it as translucent, mutable and sometimes luminescent, capable of materialising and disappearing again. Ectoplasm also became closely entangled with photography and scientific attempts to produce evidence of phenomena that resisted ordinary perception.


Marina Warner’s essay Ethereal Body: The Quest for Ectoplasm became part of the research for the exhibition. Warner describes encountering a preserved “sample of ectoplasm” in the archives of the Society for Psychical Research: what remained was a piece of synthetic fabric, yellowing with age and carrying traces of blood. She also draws a connection between the séance and the camera obscura, where an immaterial presence is imagined as leaving a material trace through processes of darkness, light and sensitive surfaces.


The title ‘Mother’s Ectoplasm’ extends this idea of materialisation to the act of making itself. Nel approaches the artist as a kind of medium: a body through which ideas, intuitions, materials and images pass before acquiring physical form. In this sense, the works become her own “ectoplasm” — things brought into being through the process of making — while the exhibition becomes the temporary environment in which they take shape.


At the centre of the exhibition is Mother’s Ectoplasm, a large glass sculpture resembling a sunken, headless female figure. Activated by changing light in the gallery, the body shifts perceptually between figure, mountain landscape and ice-like formation. The human form becomes unstable, moving between body, matter and landscape.


Elsewhere, small traces of “ectoplasm” appear throughout the exhibition as suggestions of an unseen presence. Sound, light, glass and other materials operate less as representations than as sensory cues, allowing forms to emerge, disappear and shift according to the viewer’s position and perception.


This photographic logic continues through the materials themselves. In Advice of Ancestors, daylight entering through the windows gradually stains and alters pink foam, while objects interrupt the exposure and leave ghost-like impressions behind. The foam becomes both surface and recording device, retaining evidence of light, objects and previous configurations while also absorbing sound and subtly altering the acoustics of the room.


Treating the exhibition space as a kind of sketchbook, Nel developed Mother’s Ectoplasm as a site-responsive environment in which reality and imagination overlap. Across the exhibition, distinctions between image and object, body and landscape, presence and absence remain unstable, as matter itself begins to behave photographically.




</description>
		
	</item>
		
		
	<item>
		<title>Spirit Rapping</title>
				
		<link>https://kobienel.com/Spirit-Rapping</link>

		<pubDate>Sun, 25 Feb 2024 10:39:40 +0000</pubDate>

		<dc:creator>Kobie Nel</dc:creator>

		<guid isPermaLink="true">https://kobienel.com/Spirit-Rapping</guid>

		<description>Spirit Rapping &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
 Solo exhibition, Galleri Hvelvet, Oseana kunst og kultursenter, Os, Norway, 2024
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Spirit Rapping &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;
Galleri Hvelvet, Oseana kunst og kultursenter, Os, Norway, 2024

‘Spirit Rapping’ brings together photographs, sculptural elements, scent and light within an installation divided into two by black PVC strips. Commonly used in cold-storage environments to separate areas of differing


temperatures, the material creates a physical boundary through the gallery while remaining permeable: bodies can pass through it, light is reflected from its surface, and its distinctive scent spreads beyond the division it creates.


The photographs were made during fieldwork at Rainbow Valley (Wurre) in Australia’s Northern Territory, a culturally significant landscape for the Upper Southern Arrernte people, its Traditional Owners. Rather than photographing the monumental sandstone formations for which the area is known, Nel turned her attention towards the ground, recording tracks and impressions in the sand left by animals and insects whose bodies remain outside the frame.


The installation brings these traces into relation with structures of separation and preservation. The PVC divides one environment from another, while the photographs originate from a landscape itself delineated as a protected reserve. Yet these boundaries remain unstable: scent travels across them, reflections appear on both sides, and the traces in the photographs register movements that do not conform to the divisions imposed upon a landscape.


Across the work, presence is encountered indirectly — through tracks, scent, reflected light and material traces of something having passed through.



&#38;nbsp;
Is the reserve preservation or storage? What is certain is that the scent from the vertical blinds that divide the room cannot be stopped but spreads everywhere.&#38;nbsp; And the black curtain also functions as a mirror. From both sides.











Archival digital prints, 100 x 76 cm, Edition of 3 + 2AP









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		<title>Make your presence known</title>
				
		<link>https://kobienel.com/Make-your-presence-known</link>

		<pubDate>Sun, 25 Feb 2024 10:59:05 +0000</pubDate>

		<dc:creator>Kobie Nel</dc:creator>

		<guid isPermaLink="true">https://kobienel.com/Make-your-presence-known</guid>

		<description>Make your presence known &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
Sound installation, PARABOL at Kunsthall 3,14, Bergen, Norway, 2024


&#60;img width="1024" height="1024" width_o="1024" height_o="1024" data-src="https://freight.cargo.site/t/original/i/d1d218494f65fcbc95b7d915c642badc1fe53a2c1fc681d74ea60a014ffd51c9/KobieNel_SpiritRapping.jpg" data-mid="205411781" border="0"  src="https://freight.cargo.site/w/1000/i/d1d218494f65fcbc95b7d915c642badc1fe53a2c1fc681d74ea60a014ffd51c9/KobieNel_SpiritRapping.jpg" /&#62;


&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/fe8a2d4f7c71492cce64159c2ee445b67cd55290ab9750838f13d9dcd267c805/HarmaoniusMadness_parabol.jpg" data-mid="250446782" border="0"  src="https://freight.cargo.site/w/1000/i/fe8a2d4f7c71492cce64159c2ee445b67cd55290ab9750838f13d9dcd267c805/HarmaoniusMadness_parabol.jpg" /&#62;












‘Make your presence known’ asks how a presence might be sensed without being seen. Bringing together sound and an AI-generated image, the work evokes an unseen but audible presence — somewhere between imagined encounter, technological mediation and haunting.


The work takes as a point of departure the Fox sisters, whose nineteenth-century séances became closely associated with the rise of modern Spiritualism. Their communication with supposed spirits occurred through mysterious raps and knocks: sounds presented as evidence of an invisible presence. In Nel’s work, this history is reconfigured through a soundscape created with knuckle bones, while an AI-generated image depicts hands gathered around a table in séance.


Both sound and image are therefore mediated constructions of something absent. Rather than offering evidence of a supernatural presence, the work considers how bodies, technologies and acts of belief can produce the conditions through which a presence is imagined, projected or sensed.


Make your presence known was presented as part of PARABOL, a collaboration between Lydgalleriet and Kunsthall 3,14 in Bergen. Played through a directional loudspeaker in the entrance hall, the sound work became the visitor’s first encounter with the exhibition space.




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		<title>The Star of Africa</title>
				
		<link>https://kobienel.com/The-Star-of-Africa-2</link>

		<pubDate>Sat, 25 Nov 2023 02:14:59 +0000</pubDate>

		<dc:creator>Kobie Nel</dc:creator>

		<guid isPermaLink="true">https://kobienel.com/The-Star-of-Africa-2</guid>

		<description>&#60;img width="1169" height="779" width_o="1169" height_o="779" data-src="https://freight.cargo.site/t/original/i/b1b5cbad85704a4a43f0a9b9496d3c27cb502719cf482f6ca426e7e28a427189/_92A9575-1.jpg" data-mid="197783211" border="0"  src="https://freight.cargo.site/w/1000/i/b1b5cbad85704a4a43f0a9b9496d3c27cb502719cf482f6ca426e7e28a427189/_92A9575-1.jpg" /&#62;&#60;img width="1169" height="779" width_o="1169" height_o="779" data-src="https://freight.cargo.site/t/original/i/315c070512e8092dd2073f7648985cd8e5223ca6c0a4a9d29481a6b69b02d9bc/KN_StarofAfrica.jpg" data-mid="197783210" border="0"  src="https://freight.cargo.site/w/1000/i/315c070512e8092dd2073f7648985cd8e5223ca6c0a4a9d29481a6b69b02d9bc/KN_StarofAfrica.jpg" /&#62;&#60;img width="4480" height="6720" width_o="4480" height_o="6720" data-src="https://freight.cargo.site/t/original/i/2c5f1975fb6414a2da979606c6e0960d17a7e0e2a9971d799b5803935fd31f1b/_92A9504-1.jpg" data-mid="197783212" border="0"  src="https://freight.cargo.site/w/1000/i/2c5f1975fb6414a2da979606c6e0960d17a7e0e2a9971d799b5803935fd31f1b/_92A9504-1.jpg" /&#62;&#60;img width="4480" height="6720" width_o="4480" height_o="6720" data-src="https://freight.cargo.site/t/original/i/0e5e880c1ee3b5fd6719aecbb3424afbea56d834e092e1f730291c0e3d524984/_92A9386-1.jpg" data-mid="197783215" border="0"  src="https://freight.cargo.site/w/1000/i/0e5e880c1ee3b5fd6719aecbb3424afbea56d834e092e1f730291c0e3d524984/_92A9386-1.jpg" /&#62;











The Star of Africa consists of eight sculptural neon works whose individual forms evoke shields, signs and ciphered symbols. When the eight elements are aligned in a particular sequence, their fragmented forms reveal the outline of a pendeloque-cut diamond: the Great Star of Africa.


The work takes its title from the largest stone cut from the Cullinan Diamond, discovered in South Africa in 1905. The diamond was subsequently presented to King Edward VII and cut into several stones; the largest, Cullinan I, was set into the Sovereign’s Sceptre and remains part of the British Crown Jewels.


The work developed alongside fieldwork undertaken in South Africa’s former diamond-mining regions in 2018. Once presented as sites of extraordinary mineral wealth and economic promise, these landscapes also carry histories of extraction, migrant labour, racialised systems of power and profound inequality. The movement of the Cullinan Diamond — extracted from South African ground and transformed into an emblem of British sovereign power — condenses many of these histories into a single object.


Across the eight sculptures, however, the diamond remains fragmented and difficult to perceive. The elements can be installed at different angles and in changing combinations, so that the complete form appears only through a particular alignment. What initially resembles an arrangement of luminous signs momentarily resolves into an image of the diamond before breaking apart again as the viewer moves.


The Star of Africa uses this shifting visibility to consider how structures of value and power can remain present while being obscured from view. The diamond appears almost as an apparition: produced through light, alignment and perception, while carrying within its brilliance histories of extraction that are less readily visible.




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