Abstract
This article intertwines discussions of art, trauma, and societal transformation through two of Jane Alexander’s sculptural works: Butcher Boys (1985–86) and Bom Boys (1998). Scholars have interpreted Bom Boys as continuing the grotesque themes prominent in the earlier and now iconic work, Butcher Boys. However, the figures in Bom Boys are not truly monstrous or mutant progeny. They are representative of a society that produces monsters, yet they are not themselves monstrous. Their transmutation appears to be a masquerade, unlike the embodied existence of Butcher Boys. Through an analysis of the sociotemporal connections between Butcher Boys and Bom Boys, the text highlights the enduring impact of dehumanization and structural inequities on South African society. The narrative intertwines discussions of trauma and reconciliation, exploring how the Truth and Reconciliation Commission marked a theoretical space for the reappearance of the monstrous into postapartheid society. Alexander’s sculptures serve as poignant reflections on the complexities of postcolonial trauma and the quest for societal healing. Ultimately, by subverting traditional racial classifications and provoking viewers to reconsider their perceptions of identity, Alexander’s sculptural works prompt viewers to confront uncomfortable truths about the past and present, urging them to reckon with the consequences of societal indifference and the ongoing struggle for justice and reconciliation.