In 1969 at the age of twenty, Norman Catherine held his first solo exhibition, which featured oil paintings on wood, bone, wire and an assortment of found objects.

His art has since undergone several metamorphoses, from the pristine airbrush paintings of the 70s to the frenzied, ritualistic mixed media works of the early and mid-80s, the wire sculptures and tin can works of the late 80s, and the primitive-futuristic paintings of the early 90s, which provided the seeds for his pre-millennial menagerie of anthropomorphic beasts. In the thirty years spanning his past and present output, Catherine's visual trademarks have included rough-edged comical and nightmarish forms, rendered in brash cartoon colours. His idiosyncratic vision – a combination of dark cynicism and exuberant humour, as well as his innovative use of everyday materials – has secured his place at the forefront of South African contemporary art.

"My work is inspired by traditional African sculpture, folk art, outsider, antiquities and primitive art. I work in a variety of media that includes painting, sculpture, print-making and tapestry. My subject matter vacillates between the macabre and the comic, between a gasp and a chuckle from a juxtaposition of dark and light sensibilities. It is a satirical social commentary on the idiosyncrasies of the human condition."

NFTs have opened up a whole new medium for artists to explore. I’m very much looking forward to being part of this new and exciting digital era of art marketing. It has opened up a whole new audience for artists and judging by the exponential expansion over the last year, it will be something that will continue to grow and become more accepted. This is a new era of investment art."