Amongst motifs of burning fires, rainbows, and explosions of colour, Simphiwe Ndzube presents a sculptural work that addresses the precarity and resilience of township dwellers through a tilted corrugated iron structure. The work is a monument to informal housing structures and Ndzube’s personal memory of having lived for a year in a shack that was leaning on the next door neighbor's house before attending art school. In Iphupho (a dream), Ndzube grapples with the precarity of the notion of home and more specifically the struggle for shelter and security, thus holding a mirror to South African histories and present realities. In this sculpture, Ndzube brings fantastical elements and motifs from his paintings: The shack, an inanimate object, is personified by a megaphone that has a long tongue protruding, gasping for air, screaming, singing or organizing masses in protest. Ndzube brings his imagined world into a three-dimensional form and proposes a way to view the struggle of a people whose hopes have been kept so long for a freedom that has never arrived for them. Drawing from his most recent figurative paintings with open mouths, we are reminded how ideas, fears, and dreams themselves are spoken or sung into existence. The iconography of the corrugated walls and roof elicits a recognizable structure in (Black) South African living. A structure which is necessitated by the desire to build refuge. Here the structure is tethered to the imaginary worlds depicted in the paintings, and the artist proposes alternate readings, suggesting that a shack can be ‘a space for imagination to happen