Under pressure from my superiors to intensively scrutinise this project for commercial crime, I appropriated and laid out all available evidence – in aircraft accident modality – at the GUS gallery, in Stellenbosch.
I further traced the connections, developments, and turns of the project in a forensic diagram. Lastly, I subjected Suzette to intensive video interrogation.
The artist's project undoubtedly trespasses on zones of moral and ethical hazard, my conclusive report to the investigative oversight committee declares the case innocent of legal infraction. In legal reading, ‘innocent of legal infraction’ does embrace the possibility of failure to commit a crime. In other words, an unsuccessful attempt.
While the investigation cleared Suzette of complicity of intent, the process inflicted a significant emotional toll on her. Suzette has ultimately transferred responsibility for her trauma to her (now ex-)client. This is evidenced in the letter that I present at the start of this dossier, and ultimately in her address – or rather appeal – to the SAJAH conference.
In redress to Suzette Clarke, I offer this accumulated evidence to the directorate of the Nelson Mandela Metropolitan Art Museum as the artist attempts, through them, to resurrect his criminal intent.