Chiasmativity, like imaginitivity, creativity, inter-subjectivity, superconductivity, self-reflexivity, indicates an action, that something is happening, being done, taking place, transpiring. In other words, often there is a movement involved.
The word ‘chiasma’, traditionally used in genetics to refer to paired chromosomes, in this case refers to an intersection, or the crossing over of two elements. What we have, then, is the active and involved meeting or interconnecting convergence of two media, namely painting and photography.

Kezia possesses a natural knack for photography, but she has always preferred to paint. This explains why, for example, her photographs often seem almost painterly, and hence the crossing of the two media. So what this exhibition represents is the dynamic meeting and crossing, or the movement between, these two mediums.

Kezia feels, I think, a certain affinity with the avant-garde artists of the early twentieth century – when film photography was still a relatively new medium and abstraction in painting was becoming the vogue, which also calls to mind the American art critic, Clement Greenberg’s notion that (and I quote): “Art should focus on its own proper medium, meaning that artists should turn to abstraction” (Belting 2011: 21). A sentence unmistakeably activated by this exhibition.

Clearly, Kezia’s art lacks the political-revolutionary motivation found in the art of the early modernist avant-garde, but what she does demonstrate, or exhibit if you will, is a keen interest in experimentation, innovation, invention, investigation and discovery. Kezia experiments with movement vs stillness, with ‘painting with photos’, with chance – a key notion in, for instance, the Dadaist and Surrealist philosophies, which also explains why what started as experiments in abstraction, quickly gained elements of the accidental or unplanned, becoming more like the automatic works created by Surrealists such as Joan Miro or Andre Masson, and ultimately, she experiments with the very process of creating art.