Jandrell was a core member of an art collective Sluice (or the Sluice group), a collaborative art project based in Cape Town in the mid- late1990s.

Their name, Sluice, originated from the pathology lab used by the emerging collective at the Michaelis School of Fine Art at The University of Cape Town (South Africa), where most members were current undergraduate students. Formerly used for washing down cadavers when the site had been a medical school, the room was marked simply Sluice Room. The name stuck, becoming an accidental but fitting metaphor for the group’s ambition: a channel for ideas, a site of cleansing, flow, and transformation.

Over the year, Sluice developed a series of installations, workshops and performances, including a sleek, unsettling environment of fake bathroom tiles, a water‑filled bath, and black rubber at the Planet Art Site. Their culminating project was an ambitious installation and performance project within the Castle of Good Hope’s historic B‑Block.

The artwork used the historical setting of the Castle, which was originally built by the Dutch East India Company in the 17th century and utilised a system of sluices (known as boeren-verdrieten, or “farmers’ sorrows”) to regulate water for the settlement and its surrounding farms.

Using video, sound, light, painting, performance and architectural intervention, Sluice’s project grapples with the city as metaphor, memory, and lived reality, aiming to evoke the layered experience of Cape Town itself, a city at the precipice of huge change brought about by South Africa’s shift to democracy in the 1990s.

Supported by the German Consulate and the Foundation for the Creative Arts, the group’s persistence has been its most striking achievement. Through conflict, invention and mutual trust, Sluice built not only a body of work but a self‑directed model of learning. Its members were Dorothee Kreutzfeldt, Julia Rosa Clark, Sally Stephens, Sarah van der Bijl, Craig Parker, Tom Cullberg, Adam Lieber and Mandy Lee Jandrell