How would you describe yourself to anyone who has never seen or heard of you?

I’m a Black woman from Johannesburg, South Africa. And I’ve been told to be quite stoic and slow and steady and sometimes quite stubborn towards things, as well as with my ideas. I’ve been working in the realm of speaking about women archetypes and spirituality and mental health and some of my own generational curses and traumas. I’ve worked with some of these experiences to create a narrative which I think isn’t unique. I think I am quite similar to a lot of young black women in this country, and I think that that’s what makes my story relatable. 

Growing up between Rustenburg and Johannesburg exposed you to different racial and socio-political realities. How have these experiences shaped your artistic identity and the themes you explore in your work?

Growing up I felt that my space was quite liminal, and I was sort of constantly in between. I think maybe being mixed played a factor, but just seeing the harsh reality of going home to Rustenburg and seeing how people lived as a result of the apartheid government, and, this concept of a homeland or a Bantustan, was both fascinating and confusing to me. I would then come back to Johannesburg in the suburbs and see a different reality, and it was almost normal. I was very intrigued and having these curiosities, of watching my mother and my grandmother move in and out of these spaces gracefully and their ability to beautify their pain, themselves, their homes and just better their lives, inspired me to express this experience through art. 

“I’m deeply thankful for the current freedom I have to create at my own pace.”

“What little I have left”

Your career has spanned various mediums and themes, from your early works to your recent exhibitions like “No Matter How Far I Run.” How has your academic background in Film and Television from the University of Witwatersrand influenced your approach to visual art?

Film and television proved to be instrumental in honing my narrative skills and storytelling abilities. Immersed in the study of these mediums, I drew significant inspiration from the material, particularly gaining insights into archetypes and the purposeful inclusion of certain elements to propel a story forward. Attending an academic institution further equipped me with the language and vocabulary necessary to articulate my artistic expressions effectively. While not always imperative in an artistic career, I’ve found this knowledge to be beneficial in my own journey.

“BOuntiful”

Your art often incorporates symbols of spirituality, African traditions, and intuitive mark-making. Can you walk us through your creative process when starting a new piece and how you decide which elements to include?

I’ve found myself developing a distinct artistic process lately. Currently, I approach my work in layers. It typically begins with the vase, then progresses to the background, followed by the addition of a border. These elements intertwine and influence each other in unexpected ways. Occasionally, I’ll reverse the order, leading to a different approach to the vase than I initially anticipated.

My process is largely intuitive, although there’s a sense of intentionality behind it. I aim to evoke specific emotions, whether through colour, shape, or the intensity of lines, influencing the viewer’s mood. One recent addition to my work is the incorporation of borders, which I view as symbols of prayer and protection against external forces. While engaged in this creative endeavour, it feels essential to be shielded by something sacred.

These border images evoke a sense of the surreal, akin to ancient San rock art found in caves. Much like those who felt compelled to leave their mark in such spaces, I believe there’s an innate human desire to express oneself spiritually, even when the meaning may not be immediately apparent. This speaks to our longing to connect with something greater than ourselves.

“While engaged in this creative endeavour, it feels essential to be shielded by something sacred.”

“Going mad and seeing things”

What quote or piece do you look at that drives you to want to create more ? 

One recent project that truly sparked my enthusiasm was the piece I produced for  Latitudes titled “Gogo’s Landline.” It drew its inspiration from a cosy corner in my grandmother’s house where she would often enjoy her tea, watch television, or make phone calls. Crafting this piece felt like a labour of love; I took my time, allowing it to organically evolve. I’m deeply thankful for the current freedom I have to create at my own pace. Reflecting on a quote from Maya Angelou, where she spoke about maintaining gratitude even on difficult days, I find it incredibly inspiring. Regardless of the challenges I face, whether in my work, studio, or personal life, I’m content with where things stand.

Crew

Creative Director & Editor-in-Chief: Renaé Mangena

Art Director & Vice-Editor: Anastatia Nkhuna

Producer: Hlengiwe Mkwayi

Graphic Design: Shaylah Pardey

Photography: Simba Takaedza

Photography Editor & Retoucher: Banele J

DOP: Wesley Takaedza

Digi:  Nkateko Mondhlana 

Stills Lighting Tech: Gomolemo Moloto

AC: Sibusiso Kgokoane

MUA: Shakirah Sithole

Stylist: Kutlwano Hlomuka 

Production Coordinator: Rorisang Sebiloane

Talent manager: Liziwe Kwanini 

Logistics: Tinyiko Baloyi