Purchase City of Gold prints for 25% off for a limited time (until July 31st 2022) with Coupon code: HOBURG2022
Goldendean’s Soft Vxnxs @ HETHEM, Amsterdam
Goldendean is honoured to present a new work commissioned by HETHEM for Chapter 4OUR: Abundance curated by Simon(e) van Saarloos.
Soft Vxnxs
Large Scale Inflatable gold sculpture with airblower
approx 5m x 4.5m x 2.5m
Live with Goldendean @FNBArtJoburg AR Platform



Mistress Leia, a dominatrix in Paris



























Dean’s Bed









Dean’s Bed is Love, intimacy, dreams, longing, conceit, queerness, identity, authenticity and beauty.
Made by Dean Hutton, with people, not of subjects – Chosen family, old friends, new friends, artists. Working, playing, with the participants to reveal, but not capture, ultimate expressions of self… a naked… bare self that holds agency. Shifting photographer to participant, creating relationships and abandoning distance.
Making Love.
Like much of the artist’s work, this series of intimate portraits challenges what is “normal” outside of binary concepts of gender, embracing fluidity and a comfortable expression of difference. These issues of difference are particularly complex within an African context where Hutton’s white skin often places them as foreign to the continent while belonging nowhere else. Hutton deals deeply with the issue of whiteness in much of their work, particularly in their attempt to deconstruct the destructive possibilities of the white gaze and working with participants, never subjects, to disrupt the power relationships in the act of photography.
Dean’s Bed was presented at the 2014 Liste ArtFair Basel and FNB Joburg Artfair by Maria Fidel Regueros and ROOM gallery.
Plan B prints
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R5000
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R5000
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R5000
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R5000
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R5000
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R5000
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R5000
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R5000
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R5000
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R5000
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R5000
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R5000
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R5000
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R5000
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R5000
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R6000
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R5000
pigment on cotton rag 594mm x420mm
ltd edition 1 of 10 + 2A.P. signed, unframed
R6000
Tenderqueer Monster
Typographic Mediatation
'TheyThemTheir 'pigment on cotton rag 594mm x420mm ltd edition 1 of 100 + 2A.P. signed, unframed R1600 'unfuckme fuckme' pigment on cotton rag 594mm x420mm ltd edition 1 of 100 + 2A.P. signed, unframed R1600 'white motherfucker'pigment on cotton rag 594mm x420mm ltd edition 1 of 100 + 2A.P. signed, unframed R1600 'The Artist cannot eat likes' pigment on cotton rag 594mm x420mm ltd edition 1 of 100 + 2A.P. signed, unframed R1600 'tenderqueergenderbender'pigment on cotton rag 594mm x420mm ltd edition 1 of 100 + 2A.P. signed, unframed R1600 'hectic' pigment on cotton rag 594mm x420mm ltd edition 1 of 100 + 2A.P. signed, unframed R1600 'choke me daddy' pigment on cotton rag 594mm x420mm ltd edition 1 of 100 + 2A.P. signed, unframed R1600
The Crucible






First presented at the Bag Factory, and then Newtown’s Mary Fitzgerald Square Alex Dodd writes of The Crucible in the Art Times: “The viewer must crouch down and enter through razor wire portals into the smoke- lled interior surrounded by a crucible of projected ames blazing around a small altar on which lies a South African ID book. It’s the closest I’ve come to experiencing what it must have felt like to be a victim of one of the violent attacks on foreigners. Better than reading so many life-sapping newspaper reports… ”