Your work has been exhibited at a number of galleries locally and internationally, tell us what are your thoughts and feelings during the exhibition process?
There is a lot that goes through my mind before I even exhibit the work, but when the works are finally hanging and the exhibition opens to the public, I no longer have control over what the work communicates. At that point it is up to the audience to engage the work.
I enjoy being able to see people’s emotions written on their faces during an exhibition. I also enjoy the conversations around certain aspects of the work. The audience always brings another dimension to the reading of the work. They participate in the creation of meaning.
What has been the most memorable response to your work?
It was in 2014 when my mother first visited my solo exhibition Ditaola. I think this was the first time she had seen my work outside of the reproductions of my photography in publications she had seen.
How important is the role that material plays in your creations and to what extent does it encourage or augment the narrative?
The work I make acts as a mirror to a world that is inhabited by different bodies. In my photographic work for instance, these bodies are as much material as the landscapes, backdrops, and the props that may be framed in the artwork. In a self-reflective photographic practice where the body is at the centre of the image and the narrative, such as in most of my work, materiality becomes the vehicle through which meaning can be inscribed and retained. Material can also work to prescribe/describe a particular context in an artwork.
In most cases the material is often the narrative.