This exhibition was not something that came together quickly. It took over a year of planning, conversations, coordination, and trust to bring Norman Seeff’s Homecoming to life at Norval Foundation.

For Gavin and Sean Furlonger, this project carried a personal weight. Gavin has been a long-time friend of Norman’s, and their ongoing conversations helped shape the spirit of the exhibition long before any prints were hung. There was a shared understanding from the beginning that this needed to be more than a retrospective. It needed to feel like a return.

That process was developed in collaboration with Karel Nel, Head Curator at Norval Foundation, an artist and former Head of Visual Arts at Stellenbosch University. His approach grounded the exhibition within a clear historical and cultural context, while keeping the focus on the work itself. It was also through this process that the title Homecoming emerged.

The exhibition ran from 14 September 2024 to 02 February 2025, giving audiences the time and space to engage with the work properly. It was not rushed. It unfolded slowly, much like the stories behind the photographs themselves.

A Year in the Making

What made the show particularly meaningful was the process behind it. From selecting the works to refining the narrative, every decision was considered. The goal was to present images that not only reflected Norman’s global career but also reconnected him with South Africa in a grounded and authentic way.

Behind the scenes, the journey was just as important as the final result. From logistics and print production to installation and lighting, every detail mattered.

Walkabouts and Conversations

Throughout the exhibition, a series of walkabouts added another layer to the experience. Led by Karen Nel and Gavin Furlonger, these sessions opened up the work in a way that a wall label never could.

Conversations moved beyond the frame, touching on process, personality, and the energy that defines Norman’s approach to portraiture.

Experiencing the Work

There is something different about standing in front of a print when you understand how it was made. The intention becomes clearer. The connection becomes more immediate.

For those who experienced it in person, the exhibition offered a rare opportunity to engage with one of the most influential portrait photographers of our time in a South African context.

For those who missed it, this is part of a broader conversation that continues.

Behind the Scenes

Over the coming posts, we will be sharing a selection of behind the scenes photographs that document this process. These moments tell their own story.

They show the work, the people, and the care that goes into bringing an exhibition of this scale together.

Special thanks go to Heba El Kayal, whose support played an important role in making the exhibition possible who is a curator, writer and advisor from Cairo, focusing on modern and contemporary art from the Middle East and North Africa. She studied English and Comparative Literature at the American University in Cairo, followed by a Master’s in Modern Art History and Curatorial Studies at Columbia University, and is currently pursuing an LLM.

Her work has taken her across Dubai, Beirut, New York and London, where she has worked closely with auction houses, collectors and artists. She has served as Chief Curatorial Consultant at Norval Foundation, curated the Generations section at the Investec Cape Town Art Fair 2025, and continues to hold advisory roles with ArteEast in the United States, Strauss & Co in South Africa and the ARAK Collection.

Collecting the Work

If you are interested in collecting photographic prints, you can browse available prints through our store.

Understanding how works like these are editioned is also important, especially when considering long-term value. You can read more about editioned prints and how they shape the collecting process.

Continue Reading

To explore Norman’s background, career, and creative philosophy in more detail, continue to our full feature on who is Norman Seeff.

“This exhibition was never just about the photographs. It was about bringing a lifetime of work back home, and allowing it to be seen in a new context.”