- Tell us a little bit about your background.
I was born and raised in Johannesburg and decided to study at the Michaelis School of Fine Art in 2011. I graduated in 2015 and have been a full-time artist based in Cape Town since then.
- What inspired you to be an artist when you were growing up and why?
I daydreamed a lot and spent my time playing outside. Before 2000, my late grandfather sent us VHS tapes recordings of old Cartoon Network shows from Newcastle in the UK, before my household decided to get DSTV. Animation felt like the closest thing to the replication of imagination.
At that age, I also remember having completed a drawing while sitting at a table in my garden thinking I’d like to do this for the rest of my life. Spending time outside also gave me a love for nature and a deep need to be surrounded by it. Moving to Cape Town has given me access to nature and it is what inspires me to create as I think that it is truth.
- What is the most challenging aspect of being an artist, particularly as a woman, in your country?
Subconsciously, I find ways to avoid being catcalled while walking. So if I can get lifts or take the bus that comes down my street, I’ll utilize that as a kind of breathing space so I can avoid the whirlwind of verbal harassment and have a peaceful headspace while getting art supplies/groceries/drawing money/scanning my art. I’m just too sensitive to it.
I have, however, seen male-on-male violence where my friends are laughed at or questioned by strangers because of their alternative appearance. I blame all of this on the competitive, shallow and insecure plague: patriarchy. It becomes exhausting knowing that each time I leave my house something confrontational is bound to happen – no matter how much we try to keep our heads down and move forward.
Outside of that, I think there aren’t many platforms for underground artists. I do wish that illustration, grungy and raw types of creations could be punted and supported just as heavily as Fine Art culture is. The other issue is the view on the costing of art and materials artists use: It doesn’t always have to be unattainable by the average person and I think there needs to be a shift in perspective. Luckily, I’ve found a few supportive channels, one of which is the online gallery, Unsung Art, and I appreciate their hard work greatly.
- Are you involved in any other projects outside your regular job? If so, can you tell us which ones you’re currently most excited about?
I play drums and other things for Morning Pages. It is an instrumental audio-visual ensemble based in Cape Town. We narrate soundscapes to projected visuals created internally. We have a strong DIY ethic and, in September of 2016, we independently released our debut album Vernal Equinox and toured the east coast of South Africa. We recorded the album internally, created album art, merchandised and funded the tour.
Our next series of performances will take place at The Theatre Arts Admin Collective at the end of March. One of which will be a replica of our November 2017 set, ‘Dirge’, that we held at Alexander Theatre. It is our first official film where we’ve scored specific sound to a story that we’ve made, and it serves as a form of lamentation over the joint loss we experienced in 2017. I’m really excited about it.
- What strategies do you use to carve out time for sketching?
I work full-time as an artist from home so there’s time for me to illustrate. I often multi-task by processing thoughts for pieces while doing tedious things like errands or housework. It’s become a habit and I think that is why, unfortunately, I am not as present as I’d like to be. Even my internet browser has multiple tabs open at once. My concern is carving out time to clear my mind more.
- Are there any TV shows, movies or web series you would sneak out to watch right now?
I’m anticipating the release of the new South Park and I can say that I hope to find similar series to the first season of Channel Zero and something like The OA this year.
- Who are the most exciting artists on the South African scene right now?
The artists that inspire me are Helo Samo, Frank Lunar, Lightfarm (Jason Stapleton), Oscar Oryan, and Louise Coutzer of Darkroom Contemporary.
- What was the most discouraging time in your career and how did you overcome it?
Last year, in 2017, I experienced many losses and the stress from that made me sick, so much so I had to go to hospital. It was scary because it felt like my body was caving in and – it’s obvious to say this – but I didn’t realize the degree of my body’s strength when it was healthy. While I was in hospital, I got to do some research and think through how I could be kinder to myself because choosing this path is difficult and my negative state of mind is one aspect that makes it harder.
- Looking back, is there anything in your career that you would do differently? Any major decisions you regret?
Everything is synchronistic and every move forward or backward is part of a complex sort of puzzle that builds on itself, which makes my path.
- What is it you would most want to be remembered for when you’re gone?
I don’t feel art is an external thing you take on; I think it’s an extension of yourself or a tool that gets more of you into this realm. I want people to feel encouraged to embrace themselves. There are alternative pathways in sharing and making art and we don’t have to wait for someone ‘important’ to coin us an artist.
Also, caring for the environment, and making pieces on how we relate to it, is just as important as works that focus on social ills. Without Earth there is no plane for us to figure ourselves out, and I’d like for people to carry that in their conscience.
