Nkhensani Rihlampfu
The ‘light’ of rejection and acceptance
As we all find ourselves living in a society filled with different kind of individuals, the relationships we are situated in functions as key to ones life and survival in society. The 23rd year old artist, Nkhensani Rihlampfu, born in Limpopo and currently situated in Pretoria actively engages two points of view with the concept of relationships. This relationship that Rihlampfu engages with in his oil paintings, lends its focus towards the individual and society. The presence of doubt holds key to Rihlampfu’s work because one is unsure of the real relationship between the individual and society. The artist sheds light upon a familiar question: Are individuals shaped by society or does society relay on individuals to shape it? Rihlampfu answers this question by stating “there is a constant evolution between the two” and the result is either of rejection or acceptance of one another, with this the individuals and society is at a continuous transformation.
Rihlampfu succeeds in drawing the viewer into the space and focusing their attention on the strong use of colour and light, like nineteenth-century Impressionists. With the strong influence of both Impressionism and Post-Impressionism, artists such as Claude Monet and Vincent van Gogh serve as wonderful inspiration to Rihlampfu. By practicing this known Impressionistic painting style, the viewer firstly identifies Rihlampfu’s bright use of colour and light as well as the painting technique consisting of short rough brush strokes each taking their own direction on the canvas and together creating fields of colour. One must note that Rihlampfu does not just copy the Impressionistic painting style exactly, as he explains that through his paintings he is trying to move beyond the Impressionist philosophy of the fact that an objects colour is defined by the way light is casted on to the object. He takes this philosophy as a metaphor by commenting on the possibilities, that society’s reflection onto individuals defines who they are as well as the individual reflections in society, defines society.
By not having art as part of his education at school, Rihlampfu gained valuable experience by learning basic drawing skills and techniques from his artist-friend Nelson Makamo as well as being mentored by the 74year old (when Rihlampfu met him in 2005) practicing artist Mr Willem Nezar from 2005 to 2007. Rihlampfu does not shy away from the fact that these two gentlemen played a fatal role in his decision to partake art as an career, as he struggled to decide on the path of his future in either sport or art. Due to the passion that was evoked in art making sessions with the gentleman, Rihlampfu enrolled as a student in Fine and Applied Arts at the Tshwane University of Technology in 2008. Currently he is completing his B-Tech in Fine and Applied Arts while facilitating art workshops for the Pretoria Art Museum’s in-and-out-reach projects.
Reflecting on this relationship that occurs between the individual and society are evident in Rihlampfu’s work included in the For Sale Project Exhibition 2011. As specific the oil painting, Go prepare for your own winter season (2011), functions as a metaphor for the daily lives of persons. Rihlampfu depicts a line of shadow like figures, the figures represents the individuals in society marching to city like things that can be work, education or leisure related. Thus everyone is on the route to somewhere in the city, the perspective used by the artists the line of individuals are depicted in such a way that the viewer while standing in front of the painting forms part of the line. With this Rihlampfu lets the viewer engage with his work, by seeing oneself in the situation depicted, thus the questions ask can also confront the viewer directly. In the foreground of the work an individual depicted quit different from the darkly shadow figures are lying on the ground, thus the individual is seen different from the marching society. Rihlampfu asks what does one do when one encounters someone that is different from your own culture or form part of the outside of the society you daily engage with. Does one stop or continue on ones own path without even paying attention to the one ‘different’ from oneself? Thus it is up to the viewer next in line to answer and make the decision, because the figures that fore goes the viewer in the line depicted in the painting are just continuing on their own path towards the city.
City-like features like road signs, telephone lines (all signs of communication) are depicted in a “non-existing” place as Rihlampfu refers to the space depicted in the picture frame. The reason why it is revered to as a “non-existing” place is that there is no iconic signs or symbols that can be related to a specific place and can thus be anywhere, any place outside the city that are mostly dull fields of grass or veldt. By the use of this “non-existing” place Rihlampfu does not bind the individuals to a specific society that can be found in a specific city or place it refers to anyone anywhere. The artist sees these individuals that are focused on their own paths as working towards a better tomorrow to make their lives thus better before the winter reaches their lives again. This winter revered to is as metaphor for when ones circumstances is not too good, the impressionists also had their focus on depicting different seasons and times of day mostly to do with their light philosophy. Thus once again Rihlampfu takes the impressionists philosophy and applies it to the relationship between individuals and society.
Rihlampfu also considers drawing and printmaking as mediums he engages in, but because of the high costs related to printmaking it makes it difficult for artists to create such pieces on their own cost. As Rihlampfu often refers to pioneer artists as inspiration to reach the highest quality in his own works, the South African artist William Kentridge is as inspiration in the genre of printmaking.
By Eliz-Marie Schoonbee
Archive for June, 2011
Featured artist: Azael Langa
Growing up in an artistic family, Azael Langa is a final year student in Fine and Applied arts at the Tshwane University of Technology. Inspired by his dad to pursue the arts, at first Langa did not adhere to being an artist until he won an art competition in grade 6. After his primary years Langa went to an art High school and it was there where he realised that this is what he wanted – to be an artist. Now as a fine art student, to Langa the most important thing is recognition in the art industry, and so he says it is a privilege for him to be featured in the FOR SALE Project exhibition.
Langa’s Suggest without fear is a series all about taking that intangible event, circumstance and becoming a mediator to the public. He explains that his art is about socio-political activism and the way he goes about showing this is through the exploitation of the average joe. By the corruption of the elite, and by bringing to the surface that which is hidden from sight, or as said “out of sight, out of mind”, Langa challenges the viewer of these artworks to come with their own suggestions.
In Wrecked couch Langa conveys the notion of binary opposites. By using the image of the young couple in an old building, which he has used as a symbol of some rights that are printed in the constitution of the country by the elite, contributes to showing how it is now falling apart, affecting the youth and the constitution itself. Langa uses images of younger people to convey a message of innocence and the future. That said, it also portrays the effects that the corruption of the elite has on the future of our country and the world itself.
Langa explains that he prefers using certain mediums all depending on the message he chooses to convey to the viewer. For example he uses oil paint to emphasise the situation of which the country find itself in, in contrast to acrylic, which will become a metaphor for circumstances that are subject to change. The same can be said about his sculptures, to an extend where steel becomes a symbol or metaphor for the strength of his convictions and emphasises how hard it is to change what you have no control over. Langa aspires to further his studies, exhibit his work all across the world and eventually also become an art critic.
By Maryka Potgieter
MPHO NKADIMENG
Influenced by predecessor Michael Mmutle, and inspired by fellow artists Michael Selekane and Nkensani Rhihlampfu, Mpho Nkadimeng is an artist who considers art an expressive tool.
Mpho Nkadimeng was born in Dennilton Mpumalanga where he started his primary school education and moved to Mamelodi in Tshwane for his high school career. However he found himself moving back to Mpumalanga where he matriculated. Not knowing what route to follow in his tertiary years, he “randomly” chose art. This came as no surprise to him or his parents as his mother would always buy him coloring in pencils as a young boy and was constantly on request to create posters by his teachers, both primary and high school. He reminisces on a time as a young boy where he admired in awe at a stranger’s work and actually crying for the work because he couldn’t afford to buy it. His confidence was given a boost when he later found out that the man had in fact been tracing the pictures and coloring them in. He remembers laughing as he realized he was probably better than him artistically. Mpho, who rates himself as an aspiring artist at present, is currently doing his third year in FINE AND APPLIED ARTS at the Tshwane University of Technology, majoring in ceramics and painting. He appreciates art institutions for their ability to expose people to different ways of creating art, especially for him, as he compares himself to a troglodyte with regards to art before his arrival at the university in 2008. Along with school, he is involved in the in-reach and out-reach programs run by the Pretoria Art Museum.
His work, as he puts it, is “random”. Rather than the conceptual based works which are highly promoted and praised in this era in art, he believes that expressing what’s on his mind as well as his feelings is worthy enough in comparison.
His acrylic piece, Untitled, is an abstractly depicted sunset over a waterfall. The work pays respect to nature, which is a symbol of woman and mother, therefore the painting is an appreciation of the female figure. The second, also untitled, is an oil painting of a man holding a pole which is strapped onto him. The lone figure placed in the center of the canvas gives off a somber mood to the panel as he walks unaware of the viewer, towards an undetermined destination. The painting is based on a poem written by the artist, which again is a reflection of his need to express himself.
Both works are to be seen at the 2011 For Sale Project Exhibition.
Written by Abongile Gwele
Thank you so kindly to our Sponsors for making this exhibition come about and be a success
Kind regards
The FOR SALE Project Exhibition team
Featured artist: Tshepang Maelangwe
Concept: Sexual Conflict
Finding himself in a pluralistic world and country, Tshepang Maelangwe’s philosophy is to live life to the fullest. This is also represented in his work, where he wishes the same for others and represents through his style the individual choices we make on a daily basis.
Tshepang Maelangwe describes his work as being inspired by a modernist and postmodern approach towards sexuality, where the evolution of sexual behaviour, as expressed in post-modernism, highlights the straddle between Meta and mini-narratives. Maelangwe’s inspiration varies from the sharing of space, time and media with everyday people as well as the work of Jane Alexander, well known for Butcher boys. To Maelangwe, Alexander managed to tell the story of South-Africa as well as the present situation and future behaviour of South Africans through his work Butcher boys, which now serves as great inspiration to contemporary artists.
Furthermore, Maelangwe explains that his work is not judgemental but that it is all about representing evolving responsibilities and characters of men and women in the 22nd century. Maleangwe’s subject is sexual conflict, where he represents reproduction organs in such a way that the message of sexual conflict is visible. Sexual conflict is a concept influenced by the day to day activities, mass media, consumerism, religion and human behaviour.
Maelangwe enjoys using found objects, much like that of the Dadaists; waste and cut offs such as wood pieces. In his series Sexual Conflict (4, 5 and 6) woodcuttings make up his body of work in showing sexual conflict on a daily basis through the raw potential and clean cut of wood. Sexual Conflict 4 (House) tells a story of young school girls who get pregnant and are forced to leave school and become mothers. Maelangwe explains the situation by stating that in modern times our lives depend on work. He explains that in his area, which is a mining area, work is provided for especially men from as far as Tanzania. These men leave their families to work in a village called Phokeng (Western Province), where they create new families. As the permanent job offers are of a temporary nature, impregnated school girls then have to house these men for a period of time for the baby, and sometimes the family to survive.
Sexual conflict 5 (Molemono) represents Molemono, which is a proud Motswana living promoting their mini-narratives. Lemonong is a section in the Bafokeng nation which is known for its rather controversial poetic use of language. Maelangwe explains that in Lemonang section their totem is virginity, celebrating men and woman as that is the promise of the future. Even in marriage ceremonies elders remind the groom and the bride of their duties as they are now married. There is also a constant reminder of being a man and woman and that boys must have lady friends and vice versa. Reassuring the community of growth and being a strong nation.
The final work submitted by Maelangwe for the FOR SALE Project Exhibition is called Sexual Conflict 6 (Disappointment) where the primary message is to encourage making mini-narratives a centre focus of our lives. Maelangwe explains that the use of language determines the steps we take and that what we see determines what we think, and what we hear ultimately determines what we say. Therefor we all obtain to a Meta narrative instead of following our own mini narratives. Here the issue of language, language usage and the use of certain words become the conflict.
Maelangwe’s expectation of the FOR SALE Project Exhibition is to have exposure to both the gallery market and audience and to evoke a sense of understanding towards the numerous sexual conflicts we face in our daily lives.
By Maryka Potgieter
Siphiwe Makgoka
Looking at a world filled with individuals, caught up in the idea of a ‘new’ South Africa that goes hand in hand with politics, social circumstances and economic problems. These issues are adressed as key concepts in the art pieces of the 22 year old artist Siphiwe Makgoka. The artist from Soshanguve communicates his point of view through the beauty of unpolished steel and paper-clay. Tracing the steps of the artist, he describes himself as a 7year old youngster looking for inspiration and finding it in his brothers drawings. With no art education at school, Siphiwe copied his brothers drawings at first but soon became known for his own drawing illustrations. After completing matric he enrolled as an art student in the Fine and Applied Arts department at Tshwane University of Technology in 2008.
As an practicing artist he acknowledges the fact that he is mostly active in taking a critical view on current situations in South Africa by creating works that contributes to awareness. Siphiwe lends his focus towards the individual, the viewer, by drawing attention to what is currently happening around us and thus trying to create a situation where the viewer can reflect on how these circumstances are affecting and influencing one as a individual. It is important to note that in these works the individuals that are represented by the artist are not depictions of a specific race or gender, through this tactic Siphiwe avoids isolation and exclusion of different cultures or gender.
Although Siphiwe states that his work does not consist of a single subject matter, mainly because his concepts are always developing, his work will always stay true to social commentary. The sculptures by Siphiwe included in the For Sale Project Exhibition 2011 at the Centurion Art Gallery is an evident display of social commentary by the artist on the most recent political activity in South Africa, namely the Provincial Elections that took place mid May.
The steel and paper-clay sculpture Manyofonyofo (2011) by Siphiwe Makgoka represents the ways of political leaders. Although Siphiwe depicts the figure faceless (giving it no identity) the figure still contains male characteristics, like the suit usually associated with business men, and portraying the idea of power. The artists uses the words “bad leader” when refering to the figure, as suspected this reference is used to enhance the situation Siphiwe is depicting. The figure “bad leader” is pushing against the door trying to close it, thus trying to escape from the realities in the world rather than being a ‘good’ leader and confront the realities by applying effective solutions. Manyofonyofo is South Sotho for complicated chaos, the artist depicts this chaos through the steel strokes that weaves through one another displaying unorder and absence of straight clear roads to follow, these specific roads that are the responsibility of the leaders. The leaders must create these roads for the public to follow but rather they hide behind the door and leave the country in chaos. There are two levels of space being depicted in this work and the significance of the door frame devides these two spaces. A doors’ main function is to provide an entrance and contrast to that also an exit. The spaces is thus of being present in the chaos opposite the figure and then being absent from the chaos by trying to hide behind the door like the figure “bad leader”. Where does the artist and viewer place themselves? It can be argued that the viewer can be in between the spaces, on the one hand present in the chaos because being part of the public you are left behind by the leader, or absent from the chaos by being guilty of maybe not voting and not making use of the opportunity to contribute to the efforts of changing this ‘manyofonyofo’ in South Africa as the artist refers to it. The artist lends his critical view mainly against how the political leaders in South Africa are functioning and how it contradicts the sole purpose of a leader.
In The road that leads to nowhere (2011) the figure is seen more active, the artist refers to the figure once again as a political figure but this time preaching his ‘promises’ rather than hiding. As Siphiwe revered to a “bad leader” in one sculpture he now uses the term “perfidious leader”, this is known as someone that is not loyal or untrustworthy. The depiction of political leaders once again, is not inspirational or leading but rather a warning to the viewer that politicians are not what they seem to be. Not isolating the figure to a certain type of culture or can even political party, it is evident through the artists work that politics are represented through the male figure. Thus referring to the power politics in South Africa with its influences on the individual and the surroundings they live in daily. The nine spoons standing erected on the road in front of the depicted leader, refers to the nine provinces in South Africa participating in the elections, with the symbolic use of the spoon it refers to ‘feeding/serving people’. The artist thus ask what the political figure feeds the nation, false preaching just to gain votes and support to have power rather than being a ‘real’ leader and contribute to transformation and change so badly needed in the country. The road the leader should create is currently unworthy to Siphiwe, because the leaders can not be trusted and thus it is a road that leads to nowhere just as the title of the work suggest to the viewer. Key to the work is the question “Whom does the leaders serve?” and it is key to the acts and ‘false’ preaching of leaders in South Africa.
Being as critical on political leaders as Siphiwe is through his works, it is important that the viewer does not see the work isolated and only interprets it through the artist voice. The viewer must find themselves in the space created in the works and make their own judgments according to facts depicted as well as their personal feelings towards the circumstances in the ‘new’ South Africa.
by Eliz-Marié Schoonbee
KOPANONG ART STUDIO 