Art or appropriation? Trevor Stuurman denies plagiarising ‘Your Beauty’ exhibition

A heated dispute has ignited in South Africa’s art and photography world, drawing sharp lines between one of the country’s most celebrated visual artists and a collective of emerging women photographers.

At the centre of the controversy are accusations of plagiarism directed at Trevor Stuurman over his latest solo exhibition, Your Beauty Is Our Concern, which is on show at THK Gallery in Cape Town.

An artist, curator and co-founder of the Woza Sisi Collective, Tsholofelo Kodisang, alleges Stuurman’s exhibition borrows heavily and without permission from a previous body of work developed by her and three other photographers under the title Your Beauty Is My Concern.

Kodisang said she became aware of Stuurman’s show on April 26 through an Instagram post and noticed what she describes as “unauthorised use of our concept”.

“In our letter of demand to Stuurman we specified that beyond the immediate removal of the exhibition Your Beauty Is Our Concern from public view at THK and from all associated digital and promotional platforms and a formal and public written apology by Stuurman acknowledging the unauthorised use of our concept, we demand payment of 30% of the gross proceeds of each sale, together with legal costs incurred in pursuing this matter,” Kodisang said.

The Woza Sisi Collective was formed around Woza Sisi, which is an ongoing visual and documentary project by Dahlia Maubane that began in 2012. In 2024 Kodisang curated Your Beauty Is My Concern as an exhibition and a publication, showcasing the work of four female-identifying photographers responding to Maubane’s research and photography.

“The photographers were expected to present a working project description of their idea and chosen response and to consider how their narratives connect to, depart or build on Woza Sisi,” said Kodisang.

“Themes of anti-blackness, issues of representation, socioeconomic impacts of migration, the negotiating of rights to space and motherhood complexities were explored. As a result, a publication was produced.”

The project also included contributing photographers Simphiwe Julia Thabede, Lusanda Mdluli and Fiona Dahvana.

According to Kodisang, the parallels between their work and Stuurman’s are more than thematic. “This isn’t about a generic idea of beauty or referencing black hair as a topic. Our title Your Beauty Is My Concern isn’t just poetic. It was chosen intentionally to reflect the deeply personal, cultural and communal concerns our work engages,” she said.

In response to the new exhibition titled Your Beauty Is Our Concern, Kodisang expressed dismay: “Seeing a similar exhibition emerge under the title Your Beauty Is Our Concern using barbershop imagery and themes central to Woza Sisi without any acknowledgment felt like a deep violation.

“The plagiarism of our work has had a deeply damaging impact on the Woza Sisi Collective and its members, emotionally and professionally.”

Kodisang said this isn’t just the outcome of a legal dispute but the broader conversation about creative integrity in South Africa’s art world.

“Emotionally it has been disheartening and frustrating to see our ideas and creative expressions taken without acknowledgment or consent. As a collective that puts immense care into our work, drawing from personal, cultural and communal narratives, this violation has felt like a form of erasure and disrespect. 

“Professionally, the plagiarism has undermined our credibility and disrupted opportunities that rightfully belonged to us. It has created confusion around authorship and ownership, affecting our ability to present our work with the clarity and recognition it deserves.”

Kodisang emphasised that the stakes are much higher than artistic credit.

“The message we want to convey is clear: our voices, stories and creative labour matter and they deserve to be respected. Plagiarism is not just a legal or academic issue, it is a violation of identity, integrity and community.

“For collectives such as ours, which are rooted in shared histories and cultural expression, being credited isn't about ego, it's about visibility and survival. Our work is a reflection of who we are and it must be honoured as such,” she said. 

Stuurman, however, denies any suggestion of plagiarism and has publicly defended his exhibition and his artistic intentions.

“My solo exhibition is titled Your Beauty Is Our Concern. Black beauty has always been a central theme in my work. It began with street-style photography, evolved into advertorial and commercial projects and eventually matured into fine art photography. Each of these phases has shaped my point of view on the importance of documenting and celebrating black beauty on multiple levels,” he said.

Stuurman said the exhibition was intentionally curated to reflect spaces where beauty is cultivated.

“The curation was intentional. As you enter the gallery, you’re welcomed by a space that resembles a barbershop reception area, complete with a poster of various haircut styles, something typically found in any barbershop,” he said.

“Moving up to the second floor, you're met with the exhibition statement and works that reflect the places and processes where beauty is cultivated, whether in a studio shoot or a salon/barbershop in the township. These spaces are homes to the practice and performance of beauty.

“The third floor confronts you with striking black and white imagery that speaks to the timelessness, power and aspirations of black beauty. The exhibition aims to explore themes such as the binary of access and aspiration, as well as the intersection of fashion and beauty.

“A clear example of this is how, as Africans, we naturally embody resourcefulness — owning luxury in unique ways, such as getting a haircut with the logo of a favourite fashion brand. These hairstyles also nod to African beauty practices such as scarification and rock art, which, in contemporary times, have become markers of style and self-expression.”

Yet the toll of the controversy has not been purely professional.

“It’s been emotionally exhausting to be publicly called names and accused of theft. My life’s work has consistently centred on black beauty, especially the beauty, strength and creativity of black women. These allegations contradict everything I stand for. Women were deeply involved in the creation of this show because my work has never been about me alone. That’s why it’s titled Your Beauty Is Our Concern, not My concern. 

“Professionally, this situation has been incredibly distracting. A significant amount of time has been consumed by legal matters, time that should have been spent nurturing our creative partnerships and projects.”

Stuurman also issued a caution about the growing trend of public trials on social media.

“Social media courts pose significant dangers by enabling public opinion to act as judge, jury and executioner without due process. They often spread misinformation, amplify emotional reactions and encourage mob mentality, leading to reputational damage, harassment and even real-world consequences for individuals before all facts are known. We must protect creative spaces from becoming battlegrounds and instead allow room for respectful discourse, due diligence and growth,” he said. 

What began as an exhibition celebrating black beauty has now become a charged debate about artistic ownership, ethics and visibility in creative industries where power imbalances remain deeply entrenched.

For Kodisang and the Woza Sisi Collective, the goal is more than just legal restitution; it’s about defending the integrity of their work and making space for underrepresented voices to be heard, credited and respected.

For Stuurman, it’s a battle to protect his reputation, creative vision and the autonomy of artistic interpretation.

At stake is not just a title but a larger conversation about who gets to tell certain stories and how those stories are acknowledged in the evolving landscape of African art.