Unveiling the archive
Epoxy resin, wood, ‘Icansi’ (grass mat)
180 cm x 80 cm x 3,5 cm
Unveiling the Archive is a response to the repatriation of museum art and objects to their country of origin. The resin casting of the Icansi (grass mat), is a representation of a museum glass case, where objects are normally placed. Half of the artwork is caste in resin, with a grass mat on the loom behind the casting as a reference to calls for African objects currently housed in European museums and archives to be returned back to their rightful owners. For the artist, the Icansi denotes comfort and is a place of storytelling and knowledge sharing. Sadly these phenomelogical experiences are lost when cultural objects such as the Icansi are locked up inside museum glass cabinets.
Q&A
Is this the first time you have entered the competition?
No, I have entered the Sasol New Signatures 3 times before. However, my work was not selected in the top hundred until now.
Tell us a little about your artistic journey up until the point of entering Sasol New Signatures 2022.
I studied fine art at the Durban University of Technology and recently received my Postgraduate qualification. I have been practising as an artist and curator since my first year of studies at DUT. I have exhibited in many group exhibitions in Durban and recently in Johannesburg. I have always pushed myself to create work that would speak about the topics I’m afraid to express verbally in front of my family. I have been mentored by many well-established people in Durban who helped me develop my artistic and curatorial practice.
Who has had the biggest influence on your career as an artist to date?
There are a few people I have to mention who have been the biggest influence on my career as an artist and curator, and they are; Carol Brown, Jessica Bothma, Greer Valley and Kenneth Shandu.
Tell us a little about why you created the piece you submitted.
I created this piece titled “Unveiling the Archive” because I felt that the technique and knowledge of weaving grass mats is slowly diminishing. I learned this process of weaving grass mats from my friend’s mother, and it is something I hold close to my heart because she harvests the grass and creates these mats to sell and earn a living for her and her family. I believe these works lose valuable knowledge when placed in museums behind glass. So many stories are being lost and undocumented. Hence I would like to revive this culture of weaving mats which play a pivotal role in many people’s lives. And to keep my relationship and connection with my friend’s mom alive.
Tell us about your preferred medium/s …and why.
I chose to use the raw materials from which a grass mat is made to represent it in its original state and in the creation process. Epoxy resin was used to represent or achieve a museum glass case, and I thought it was the best and closest option to speak to the idea I am trying to convey. Also, I used resin to manipulate and create a textured case that is again tied to the grass mat. But it also speaks to the disappearing act of knowledge and skill in making these mats. I enjoy creating sculptures to convey the message louder.
When people view your work – what reaction/response are you hoping to create?
I am hoping people will realize that indigenous knowledge and skills are slowly diminishing amongst various communities, and less knowledge is passed down to the younger generation. I feel connections between people and objects will be lost.
Why do you think your work was chosen as a top 7?
I think it was chosen as a top 7 because of the idea/concept behind the work and because of how relevant and current the topic is. Also, because I touch on the traditional/cultural aspects of art but balance it with a contemporary outlook on important historical narratives.
And if you are chosen as the overall winner? How would you feel? Have you already got an idea or vision for your solo exhibition?
I would be really happy, surprised and shocked, and feel like I’m definitely moving up the ladder in my artistic career and achieving my goals. I have started thinking about various ideas which will bring about my solo exhibition.
What are you currently working on? What is next for you as an artist?
Currently, I’m working on small pieces, which consist of used teabags and beads. I am also busy writing up proposals for potential exhibitions and opportunities I wish to apply for.
I wish to continue developing my skills in the arts and curating sectors. I have an upcoming group show at Berman Contemporary in Johannesburg. I want to develop a studio/exhibition space in Durban to support, encourage and teach younger artists.
Which South African artists do you admire and why?
I admire Simphiwe Buthelezi for her use of materials and the context behind her work. Also, I admire Igshaan Adams, a textile-based artist, for his patience in weaving with different materials. I admire Adam’s conceptual background and how he has used his work to express his sexuality and choices in life.
Anything else you would like to add?
I would like to add a special thanks to my family, close friends and mentors who help and support me through my artistic journey and believe in my work. Also, I would like to thank the Sasol New Signatures team for allowing me to be a part of this exciting experience. I would like to see myself grow further in my career and bring back home the knowledge of creating with my hands to express oneself and give back to my community regarding the arts.
