In his self-portrait, 'The Blind Man', Mounir holds a stromatolite rock from the Moroccan desert, one of the oldest fossil forms that he purchased at auction, up to his eyes like a pair of binoculars. Besides blocking his sight, this prevents the visitor from looking at him, suppressing part of his identity whilst disrupting the notion of portraiture as being about the face and the eyes. Equally, it seems to express Mounir's difficulty in looking backwards and recalling his early years in Tangier, where he was born in 1970.

Indeed, the only cultural objects that Fatmi remembers from his childhood home are a photograph of a Moroccan king that hung in the living-room, a calligraphic painting and a copy of the Koran. This provides the running thread throughout the show.

The Visible side of the King, 2017, Pigment print on fine art paper, 30 x 40 cm, Edition of 5
'The Visible side of the King' shows a portrait of King Mohammed V that Fatmi has distorted to create a geometrically constructed image. On a central column, the portrait remains intact whereas in two circular shapes it is superposed onto the surface of the moon. The work is based on a 1953 myth, according to which many Moroccans said they had seen the face of King Mohammed V on the moon. This optical illusion came about after nationalists, who opposed the colonialism of France and the king's exile, distributed photos of him to Moroccan citizens, asking them to fix the portrait for a few seconds, then observe the moon. This supposedly created a fleeting impression that the king's image was layered onto the planet.

In 'Mother Language', a circular steel blade is inscribed with illegible phrases laser-cut in Arabic calligraphy, yet the shadows cast from the holes re-form the phrases on the ground. Meanwhile, in 'The Weight', copies of the Koran in French, Arabic and English cause the scales to tip over, suggestive of the arduousness of reading the same book in several languages as Fatmi's level of Arabic deteriorated.

Mother Language, 2017, Steel blade and cut outs, Diameter - 150 cm, Edition of 5
The exhibition veers in and out of autobiography, delving into the crossroads of western and Arabic culture, mapping between Morocco, France and the gallery in South Africa.

Coma Manifesto 03, 2017, Steel, Variable, Edition of 5
The Weight, 2017, Found objects, Variable, Edition of 5
Installation view. Photo: Anthea Pokroy
Roots 01 - Triptych, 2016, Coaxial antenna cable and staples, 220 x 122 cm Each panel, Overall dimensions - 220 x 400 cm