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that “I often felt like the boundaries between my many
roles had crumbled. I have to continue facing my many
roles,” she continues, citing Bradley and Oldham
(2020), with "…the knowledge that work-life balance is
a myth, gender inequalities exist, and that the world of
academia… needs to change."
The process van Zyl uses is the action of making
to-do lists – which are here reproduced in fabric as a
series of aprons and tablecloths – and then following
them as a life/task guide, as a project management tool,
and as just a very basic necessity to be able to fulfill
the many credited and uncredited protagonist roles she
juggles simultaneously.
In conclusion, the bodies of work that compose
Situated Making are as diverse as are their makers,
ranging from print to sculpture, performance to video,
installation to concept. There are elements that bind
them together and this essay extrapolates the two
key commonalities that all practitioners share: that of
location, and of process. As with all creative production,
both these elements are in constant shift, and here
provide indicators of future evolutions of even greater
complexities.

Heavy is the head that wears the CROWN Forts of Sand: her(e) : otherwise Voorskoot The Remaindering
Thato Radebe. Reimagining the aesthetics of demolition through worldbuilding Anna Abengowe and Tuliza Sindi. Christa van Zyl. Ruth Sacks.
Miliswa Ndziba.

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