I am a Johannesburg-based contemporary artist that holds a BA Fine Arts, with distinction, from the University of the Witwatersrand, and the 2022 recipient of the prestigious Absa L’Atelier Award. Alongside my artistic career, I head up the marketing department for Latitudes Online and the RMB Latitudes Art Fair.

My previous work experience at the Johannesburg Art Gallery, William Kentridge’s the Centre for the Less Good Idea, and the Wits Art Museum inculcated a keen interest in the way various genres and mediums of art and performance can intersect in gallery and museum spaces.

As the 2022 recipient of the Absa L’Atelier Award, I presented a group exhibition at the Absa Gallery in 2023 under the mentorship of the distinguished Karel Nel. This experience directly paved the way for my 2024 solo exhibition with Gallery 2, which was met with great success. Absa, as part of the award, also supported a trip to the Venice Biennale in 2024, where I was able to immerse myself in research, learning, and first-hand exposure to the structure and scale of a global biennale: an experience that, interestingly, I am able to contrast with my professional work at a contemporary, commercial art fair in Johannesburg (RMB Latitudes). I have exhibited in 14 group exhibitions and six art fairs over the past five years. Inspired by intangible feelings and tangible objects, my art practice explores the fugitive nature of memory, through seemingly abstract means. Predominantly working in printmaking, my works engage fluid colour fields, some carefully graded others painterly in their rendering, which are used as a backdrop to my dynamic compositions of calligraphic mark making and floating geometric forms.

These configurations are a tentative notation of my fleeting thoughts and an echo of architectural spaces that, have imprinted themselves in my mental and emotional fabric. Be it their sheer materiality; a crumbling window, a rusty pressed ceiling, a corroding old door or the intangible; wind blowing through a space or the shafts of late afternoon light.
In this way, my work lingers as an invitation to think about ways memory imprints itself on our inner and outer worlds.

Latitudes, on the other hand, is a leading online art marketplace and fair platform dedicated to showcasing and supporting contemporary art from Africa. Through its curated digital platform and flagship event, RMB Latitudes Art Fair, it connects collectors, galleries, and artists across the continent and beyond. Latitudes is reshaping the African art ecosystem with a bold, accessible and future-forward approach to discovery and engagement.

I believe I was nominated for the Jewish Achiever Awards because of the impact I am making within the creative sector and arts ecosystem. I am deeply driven by art and its ability to evoke emotion, challenge perspectives, and spark dialogue – a commitment that has been recognised within the Jewish community.

What makes my journey distinctive is that I operate both as an artist and as a professional working to market, create content and support emerging and established artists across Africa. Balancing these two paths is rare, and I see it as a privilege. As Dr. Paul Bayliss, specialist curator at Absa, noted: “Chelsea’s ability to balance both a full-time job at Latitudes and a dedicated art practice, producing huge bodies of work, does not go unnoticed and is commendable.”

I believe this dedication, both to my own creative journey and to working at a company that amplifies the voices of other artists, makes me a worthy winner in the eyes of the judges. I am committed to building platforms, communities and opportunities for artists, while also contributing meaningfully to the broader cultural landscape.

My vision is to continue growing as both an artist and arts professional, building bridges between the palpable creativity and talent in Africa and share that on the global stage. In a recent Latitudes Podcast, Moroccan-born Touria El Glaoui, founder of 1-54 Contemporary African Art Fair, stated: “African artists don’t need a separate table. They belong at the centre of the global conversation.” That belief is at the heart of my vision. Working at Latitudes – a company driving this very mission – has been an incredible honour. Joining from its early start-up stages, I’ve not only witnessed its growth but have contributed to it.

For myself, I aim to expand my artistic practice both locally and internationally, fostering cultural dialogue through exhibitions and collaborations. I see my journey not only as an artist recognised by established galleries, but also as an independent practitioner who has carved out my own space and opportunities. This balance of institutional recognition and self-driven achievement is central to how I define strength as an artist – being able to thrive within existing structures, while also building my own.

Looking ahead, I want to pursue residencies across the world to gain fresh perspectives, immerse myself in new cultural contexts, and bring those learnings back into my practice. Equally important is mapping out the time and space to research, reflect, and think deeply about my work – to allow ideas to develop fully and resonate more meaningfully. This combination of recognition, independence, global exposure and dedicated research will enable me to grow as a strong, thoughtful artist who contributes to both local and international conversations.

For Latitudes and the broader arts ecosystem, I envision making art collecting accessible and non-intimidating – for people as early as in their 20s – through thought-leadership newsletters, digital storytelling, and art fairs that champion artists from Africa, critical conversations, and connect audiences across the continent and abroad.
For South Africa, I see the arts embraced as a driver of cultural pride, economic growth and social cohesion – a sector where creativity is valued as highly as commerce, and where young people are encouraged to see themselves as future cultural leaders.

In a recent interview I conducted with Kaniaru Wacieni, a Kenyan-born, Morocco-based art collector and infrastructure investor, he said: “Collecting art for me mirrors the discipline and due diligence of infrastructure investment. It demands research, extensive networks, and an eye for value.” His words resonate with my vision: just as Africa’s infrastructure requires holistic investment, so too does our art ecosystem – with collectors, artists and institutions acting as patrons, connectors and advocates.

Ultimately, my vision is to help build a resilient, inclusive, and globally recognised arts ecosystem – one that paves the way for future generations.