Artists / Invited Tricksters / Farieda Nazier
Farieda Nazis
After the drip
Wild clay and candle wax · 200 × 100 × 100 mm · Urban installation
About the Work
After the drip understands erosion both as a material process and as a social condition. Building on the work Post-coital drip The work explores how people, places, stories, and communities are shaped by the slow accumulation of neglect, exploitation, and inherited trauma. First shown at NIROX Sculpture Park, the project comprised five clay sculptures representing generations within my family line—exposed over time to the effects of a drop of vinegar-laced wine, as a metaphor for the continuing impact of colonial violence on Black bodies and communities.
For the Bad Biennale 2026, the focus shifts from wine to water. Three sculptures made of clay and wax are positioned beneath actively dripping utility lines at different locations in the city. Like wine, water exists in a dual state: it can preserve and decompose, heal and harm. Both liquids are profoundly political; they allude to power, commodity, access, and dependence. As the sculptures slowly soften, collapse, and transform, the clay, wax, and water become vehicles of memory.
Located in a city known for wellness tourism, the installation connects the body with far-reaching systems of maintenance and resource distribution. A daily photographic record documents the erosion of the sculptures—the images becoming a secondary form of residue. What remains is fertile material capable of generating and nurturing unimaginable futures.
Farieda Nazier. Photo: © 2026 Farieda Nazier
Invited Trickster
Farieda Nazier
lives and works in Johannesburg
Farieda Nazier is a Johannesburg-based multimodal artist, curator, academic, and activist whose Afro-feminist practice explores the enduring impacts of colonialism, apartheid, memory, and social justice. Through installation, performance, research, writing, and curatorial practice, she develops what she calls Transformative Art Practice—an approach that integrates art, education, and critical engagement to foster dialogue and social change. From 2017 to 2024, she headed the Department of Jewelry Design and Production at the University of Johannesburg and is currently a curator and senior lecturer at the FADA Gallery.
Nazier has curated and collaborated with leading institutions, including the Apartheid Museum, the Castle of Good Hope, the NIROX Foundation, and the FADA Gallery. Her recent curatorial projects include “IMPACT is a verb” (FADA Gallery, 2025); her academic achievements include co-editing “Politics of Design: Privilege and Prejudice in Aotearoa New Zealand, Australia, and South Africa”.
