Eye Am Woman, an exhibition by Clubhaus curated by Lebohang Molotsi
Interview by Anastatia Nkhuna
On Women’s Day, Clubhaus opened its doors once again, this time with room for more voices. The space returned with a powerful exhibition: Eye Am Woman. Through an open call, women whose work carries memory, emotion, resistance, or love were invited to contribute. The result was a collective of 13 women artists, each offering distinct perspectives and mediums. Together, they confronted dominant narratives, reclaimed artistic and cultural space, and reflected on the evolving identities of women in contemporary society.
I am struck by the immediacy of presence, the way each artist carries their own language of identity, pain, strength, and resilience. What moves me most is not only the art itself but the sense of community it summoned, reminding me that visibility is never solitary. Emerging voices stood shoulder to shoulder, expanding what it means to be seen. I had the chance to speak with curator Lebohang Molotsi and Kamogelo “Monox” Litheko about the vision behind Eye Am Woman, and as I prepare to publish my reflections on the exhibition, I’ve requested images and video to ensure the story lives beyond the gallery walls, reaching those who could not be there.
What inspired the title Eye Am Woman? How does the concept of “eye” connect to themes of perception, identity, or visibility?
Lebohang: Yes. For us, the “eye” was about a lens, a different perspective, a way of saying: this is the lens we are going to use to see women, to look at women. In terms of identity, it was really about going against the dominant, universal schema of what a woman is, and instead choosing to look through that alternative lens.
How did you approach curating this show? Was there a guiding narrative or structure that connected the pieces?
Lebohang: So when it comes to that, it was basically an open call. It was an invitation to all women, different types of women, whatever you define as being a woman instead of narrowing it down to a single or specific type.
It was really about saying: all women are welcome, not just a specific type of woman. The idea of visibility was about shining a light on womanhood through that lens, and embracing women as they are.
Monox: It was on the night we were hanging the submissions that we realized there were over 30 pieces. That was the moment it really hit me, wow, so many people were actually eager to be part of this. When we printed the list of artists, I was shocked again, because throughout the process everyone had been engaging and networking, and it didn’t register just how many artists were involved until we saw it written down.
The turnout was incredible, and the response was even more exciting. Many people submitted more than one piece, because they wanted to push themselves and show the full range of their art form, and we allowed that. We gave them the chance to curate, to submit two pieces if they wanted, especially since for many this was their first time exhibiting. It was really about giving them that opportunity to be proud of their work.
How do the works collectively interrogate dominant narratives of womanhood? Were there specific themes, memory, resistance, empowerment, that surfaced more prominently?
Lebohang: I feel all of the pieces were outstanding. Like I said, each one was an expression of womanhood, of how the artist represents herself, how she sees herself. Many of the works expressed themes of pain, suffering, and resistance. Some pieces felt soft, others loud or sharp, but the thread running through them all was this act of pushing back against the idea of a universal ‘Woman’ and instead declaring, this is who I am.
The major themes that emerged across the exhibition were pain, strength, and resilience, each work carrying its own way of affirming identity through those expressions.
The exhibition features a range of mediums; photography, illustration and painting. How do these diverse forms contribute to the unity of the show’s message?
Lebohang: For me, that really speaks back to representation and visibility, because our expressions are different. We experience things differently, and we express ourselves in different ways. To limit that, to say only one medium should or shouldn’t be submitted, would not serve the exhibition and it would not serve women as a whole. There isn’t one way to be a woman, and there isn’t one way to express yourself. So having these diverse mediums come together really speaks to the main message of the exhibition itself: diversity in being.
Do you envision this exhibition having a continuing life perhaps traveling, expanding, or inspiring further collaborations?
Monox: From the Clubhaus perspective and mission, this show definitely has legs to run on. For us, it’s a testament to what we mean when we say we stand for the community and that we are by the community. Moving forward, we’re planning a closing event for First Thursday, an Eye Am Woman closing show, and beyond that the goal is always to keep creating these kinds of opportunities.
This exhibition also introduced us to a new group of artists who now have the chance to further develop and grow their craft. We want to foster ongoing relationships, so that whenever they feel ready to showcase again, they know they can come back here and try it out with us. In general, Clubhaus is looking to build a calendar of events, bringing in different curators, artists, and conceptual thinkers so that people see this place as one where they can grow their dreams.
At the heart of it, we’re committed to being for the culture, with an authentic and transparent voice where artists can represent where they come from. We see ourselves as a vessel, a space rooted in providing what we ourselves didn’t have when we were emerging.
Lebohang: When I speak about the ‘voice of the unknown,’ I think of Clubhaus as more than just a space for originality. It’s a space for the unseen, for people who go against the grain, who do things differently and for that difference to be embraced as normal. Clubhaus says: Here, you can be yourself, and that’s okay.
It’s not only about creating a platform but about fostering an environment of growth. No matter where you are in your journey, you can come here and we’ll help you grow. Many of the artists in Eye Am Woman were emerging, and for some, this was their very first time exhibiting. The show became a space of growth and upliftment for the women, for their work, and for the goals they are striving toward.
What I hope the audience takes away from this exhibition is exactly what Clubhaus strives to do for everyone: to affirm that it’s okay to be this woman, you are that woman, you are who you are, and that is enough. For me, the most powerful part of Eye Am Woman was watching people feel represented and seen in these works, to recognise themselves reflected in someone else’s expression. That, I think, is truly amazing.
What was the audience's reaction? Were there surprise conversations or moments of recognition that you witnessed?
Monox: From an event and capacity viewpoint, the numbers were very impressive for us. Even as a Clubhaus concept, it showed us that community really grows when you open the door and allow people to engage with your space. That’s the power of creating access.
On a more personal level, what stood out most was seeing the artists arrive with their families bringing their own communities of people who truly support them. That was deeply affirming, both for the artists and their journeys. Because, as we know, the artist’s path isn’t an easy one. To witness that kind of love, presence, and support surrounding them made the exhibition feel even more powerful.
For people to feel supported in this moment was really special. It gave the artists a chance to share that experience with their families and to have their creative paths affirmed in such a visible way. That kind of support matters, it makes the journey feel a little lighter. Those are the moments that really stood out for me.
Lebohang: I wanted to add on the sense of community for me, it’s really about that sense of belonging created in this space of imagery. When you speak individually with the artists, you realize how much support they receive from their families, even when it might seem like they’re doing something crazy, leaving a degree or a more traditional path to follow their passion. To have their families say, go for it, do it, makes all the difference.
That kind of support, in a space that already feels uncertain, creates belonging. It affirms you, it tells you that what you’re doing is good, what you’re doing is right. And when that affirmation exists collectively, in an atmosphere like this exhibition, it becomes so much more powerful.
What was the most rewarding or challenging part of curating this exhibition for you?
Lebohang: I think the biggest challenge was definitely the number of submissions we received. At first, I thought we’d only get five people, then it became eight, then ten, and it just kept growing. It quickly became a question of how many people we could actually showcase. Narrowing that down was not easy. But as Monox mentioned earlier, Clubhaus is a place where everyone is kept in the books so just because someone’s work wasn’t shown this time doesn’t mean it won’t be in the future.
On the other hand, the most rewarding part was speaking with these up-and-coming artists and seeing the light in their eyes, the happiness of finally doing it, of being here and exhibiting their work for the first time. To know that Clubhaus created that space for them, to be a catalyst in someone achieving their goals was the most rewarding thing about this exhibition.
If you could share a message with the artists in the exhibition or with future women artists submitting to Clubhaus, what would it be?
Lebohang: For me, the biggest message is about presence. A lot of the time, when you’re chasing a goal, there’s a tendency not to be present. You’re always thinking, okay, I’ve achieved this, what’s next? But I want the artists to know: be present in the moment, because you did it. That step you took, no matter how small it may feel, was big. You made it.
I want them to not only be proud of themselves but to appreciate themselves fully. Because, girl, you did it.
Can people come and view the exhibition?
Monox: we will have a First Thursday event the first week of September. After that, we’ll be turning a new leaf and preparing something for Heritage Month. That’s pretty much it for now.
Part of our call to action is really for the audience to keep their ear on the pulse, because Clubhaus is a transitional space. Our exhibitions often happen as pop-ups; we don’t always have the luxury of leaving things up for long. It’s very much about being in the moment, and we try to create as many of these openings as possible.
