Stephen Hobbs’s recent work: Porous Structures, at the David Krut Projects in Parkwood, served as a fascinating counterpoint to his spectacular commission for the Structures exhibition at the Johannesburg Contemporary Art Foundation (JCAF).

The centrepiece of Hobbs’s installation at JCAF, Mnara, (Swahili for tower), is a striking tribute to the art of improvised construction. Drawing from his experiences across the continent, Hobbs explains that many building sites he has encountered appear to be in a state of suspended animation, often to the point where nature begins to reclaim them. This phenomenon, he says, raises profound questions about the nature of a place, the tension between traditional and modern building techniques, and the complex resource dynamics that dictate the completion of a project.

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The graphic quality of scaffolding, and empty billboards, has long fascinated Hobbs. He sees them as placeholders for what’s to come, hinting at a future form before a single brick is laid. This interest is clearly reflected in his print portfolios, which often run in parallel with his architectural projects. The creative process of printmaking itself, with its meticulous planning and execution over many years, echoes the project management logic of construction, creating a natural synergy between his two practices.

The creation of Mnara was a challenging endeavour. Building the tower, which had to have a six-meter-high internal structure, was a process of ‘drawing in space’ with timber. Hobbs, along with his assistant Teboho Mofokeng, continued adding to the structure until it felt unsafe to go any higher. A comment from a Belgian curator, who noted the common practice of greening rooftops in her country, sparked an interesting reflection on the timber materiality of the tower, especially as the artists themselves could glimpse nearby rooftop gardens from their elevated perch.

Looking back, Hobbs reflects on the element of chance in his work. The creative process took him in unexpected directions, a journey he embraces. He notes how the tower’s intersection with the historical brickwork and modern glass of the JCAF building brings the timber construction to life through shadow and reflection, adding a layer of visual exploration to the deliberately skeletal form.

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