Winners Circle

Tandabantu Nathaniel Jongikhaya MATOLA (Gqeberha)

Ukuncikelela (to hold on/endure)

Underglaze, clay and dishcloths

5-Part: (5) 195 cm x 30 cm

Biography

Tandabantu Nathaniel Jongikhaya Matola was born in Zandukwana Village in the Libode Township in the Eastern Cape in 1996. He started to hone his skills as an artist from a young age by making pencil and pen sketches. In 2021, he enrolled in the Fine Arts programme at Walter Sisulu University. Matola’s work is inspired by Simphiwe Mbunyuza, a fellow potter from the same university. Although Matola has an interest in other fine art mediums, such as painting and drawing, ceramics holds a special place in his heart.

Synopsis

Black South African communities, especially in impoverished rural villages, are forced to keep domestic items even longer than they wish. This lifelong forced frugality is imposed on these communities primarily due to limited finances, resulting in untoward practices to overcome resource constraints. For instance, keeping items like dishcloths until they are distressed, not changing toothbrushes over an extended period, and even keeping worn-out clothing items. The idea for this artwork came when the artist noticed that the dishcloth at his home was in such a bad state. As an artist, this prompted Matola to collect dishcloths from his village in exchange for new ones. Clay and underglaze are used to depict the homes Matola visited using the dishcloth he obtained from that home. The weaving of clay and cloths symbolises ukuncikelela, which means to hold on in isiXhosa. The PVA glue is used to hold the clothes in shape while it also reinforces the ukungcola (dirtiness) from the overuse of the cloth.

Snelihle Asanda MAPHUMULO (Gqeberha)

Umnikelo

Mixed media

18-part installation: 80 cm x 135 cm

Umnikelo is a self-directed body of work that speaks to the changes that occur in the positionality of women in the Zulu culture. The wax plates signify the fragility of the matriarchal roles in the Zulu homesteads as women are constantly having to “stand in the gap” for men. These plates also represent the act of endless serving that women must endure in families. This “serving” (ukunikela) is seen as an important part of the Zulu ceremonies as it shows the responsibility of women in the Zulu culture. This notion of serving is hinted at in the concave traditional trays used to serve meals for men. The sheep hides represent the characteristics of sheep similar to women, which are submissive, intelligent and fragile. The hides speak of the animal sacrifices that my great-grandfather had to make and the importance of these ceremonies. The stack of wax plates symbolizes the endless number of people who come to ceremonies that need to be served. These crates not only stand for the excessive beer consumption in the ceremonies but also as a structure that men sit on while they feast in traditional settings. The hides speak of the animal sacrifices that my great-grandfather had to make and the importance of these ceremonies. Most of the women in my family are usually behind the planning of the ceremonies. The stack of wax plates symbolizes the endless amount of people who come to ceremonies that need to be served.

Bonginkosi Liyo MKHATSHWA (Johannesburg)

Traditional innovation (Unity & Innovative water carrier)

Mixed media

Diptych:  44 cm x 27 cm x 14 cm; 33 cm x 30,5 cm x 29,5 cm

Mkhatshwa Bonginkosi Liyo’s body of work delves into the artistic representation of the indomitable spirit of rural optimism amidst the challenges of living in South African rural areas. Through mixed media artefacts, he aims to highlight the resilience and determination of rural communities to face adversity head-on and adapt to their circumstances. Despite the lack of essential services, which often forces rural women and children to undertake arduous journeys on foot to fetch water or travel long distances to school, his art seeks to celebrate and honour the optimism, spirit, and resilience of rural communities. The water containers featured in the work, typically used for storing chemicals, are repurposed in rural areas to carry and store water. Through the use of acrylic paint and ink, these containers are transformed into symbols of artistic representation, serving as a tribute to the rural way of life, celebrating the optimism and resilience of rural dwellers, challenging stereotypes and showcasing the beauty and strength of rural communities.