Do the owl’s fluttering and ultimately trapped presence perhaps attempt to symbolise the factors of uneasiness, threat, deprived freedom, or even the inevitable death in this type of social context, clearly portrayed by the interiors?

According to Albert Werth, curator of the Pretoria Art Gallery, (1987) the social commentary about the current cultural-political circumstances under which we live in South Africa is no strange occurrence or subject in the arts. This theme has been addressed from the beginning of the decade. Artists either portray a positive or negative involvement through their work. “Unfortunately” artists are regarded by viewers and authorities as rebels, as being radical and immoral, and part of sinful elements in the society when they try to share social commentary through their work. Werth further states that what artists are actually trying to do, is make a contribution to the arts and in no way act like rebels, even though circumstances in our country make them feel uneasy or cause discomfort.