Tag: Tash Brown

Future 76 // In dealing with the colonial wound

Coloniality describes the hidden process of erasure, devaluation, and disavowing of certain human beings, ways of thinking, ways of living, and of doing in the world – that is, coloniality as a process of inventing identifications – then for identification to be decolonial it needs to be articulated as “des-identification” and “re-identification, which means it is a process of delinking

This statement by Walter Mignolo during a 2014 interview with Rubén Gaztambide-Fernández describes the pervasive nature of coloniality. Certain parallels can be drawn between the tragic events of June 16th, 1976 and the recent Fallist Movement. These historical moments have enacted ruptures of resistance. Recognizing moments of erasure is crucial to redefining historical narratives and addressing systemic disparities of power. However, ‘the voice’ of youth is not merely a homogenized entity. Issues of representation require a nuanced and considered approach – allowing passage to spaces that have been previously inaccessible. Within the context of contemporary art in South Africa, opportunities for self-representation and exploration are often scarce.

It is in response to this, that Bubblegum Club has created an annual micro-residency to cultivate the talent of young artists. A group of four womxn have been selected for this years programme – to participate in a series of workshops, close conversation and ultimately exhibit a new body of work at the end of June. The programme has been conceptually framed around decolonial options – to tentatively consider and critique this notion beyond the buzzword.

Jemma Rose, a self-identified visual activist and Gemini, uses her camera to capture daily realities. She also uses it as a mutual point of contact – a device to generate encounters with people. Photographic work is in part a family tradition, it has always had an element of familiarity to it, as both her father and grandfather have engaged with the medium.

Through her work she often works with themes of queerness and queer identity as well as drawing attention to mental health issues. Jemma notes that there are some performative qualities to her photographic work and usually focuses on using her images to convey a message relevant to her experiences. She is interested in locating herself and her work within a larger context based on her personal subjectivities.

“I initially thought of ‘decolonisation’ in relation to breaking things down. I’m starting to realize that it’s much more than that. There are so many things behind it that you have to unravel…masculinity, heteronormativity and sexism are also all part of it. You need to slowly start unraveling it so that you can see the bigger picture.”

This sentiment echoed by Mignolo “Patriarchy and racism are two pillars of Eurocentric knowing, sensing, and believing. These pillars sustain a structure of knowledge.” (2014). Thus through untangling the history of colonization, racisim and the patriarchy must also be addressed.

Boipelo Khunou is currently in her final year of Fine Arts at Wits. “It’s been an interesting journey trying to find out what this so-called-fine-art-world is – what it means to be making art and making work.” This process can often be dissolusioning, especially once you realise how the elements of capital and nepotism are entertwined in the system.

As a multi-diciplinary artist, Boipelo focuses her practice on photography, print and digital media. Thematically she works through ideas of personal power. “I use to reflect about the things that I experience. Experience is one of the most important parts of my work.” Through her work she investigates the kinds of spaces it is possible to find and claim power. She describes how oftentimes it’s within the walls of the institution that power is forcibly relinquished and autonomy is lost.

“I didn’t know anything about decolonization until Fees Must Fall.” During the movement, the concept gained an immense amount of traction. Pedigogical systems and western epistemology within the university and beyond were challenged. “After the protests, so many people I know went through this weird depression because they realized that institutions have so much power, but what does that mean for people who want to dedicate their lives to decolonial practices?.”

“The interesting thing is to actually see how you can put decolonization into practice. You can do all the readings, go to the talks, go to all these places that advocate for it, but what does it mean to practice it every day? I think that it is a very complex thing, it’s something that challenges me. You realise that there are so many aspects of your being and how you operate in life that you need to figure out how to prevent institutions and conditioned ideas to creep back into your life – it’s a constant battle.”

Natalie Paneng is a 21-year-old artist and student. Her background in set design gives her a unique application of her use of space. Her work is often located virtually as she explores what it means to engage with the internet as a black womxn. The mode in which she does this is often through the use of alter egos. Hello Nice is a character she created on youtube and utilizes the ‘vape wave’ aesthetic.

Recently Natalie created a zine called Internet Babies, it chronicals the profiles of five girls: TrendyToffy @107_, Black Linux otherwise known as the Mother of Malware, Silverlining CPU, Fuchsia Raspberry Pi and Coco Techno Butter. It explores their relationship to digital space and how they’re the “fiber of the internet.”

She decribes how, “trying to find myself is like the decolonization of myself. Learning how to push those boundries and be more radical as well as owning the need for decolonization and acknowledging that it’s going to have to start with me.”

Tash Brown is a young painter who approaches the concept of White Suburbia as well as investigating her place and participation within that space. While working through the lens of decolonization she describes how “white suburbia becomes a distortion of reality”, one which is also often still racially segregated. Her distorted paintings are often a grotesque depiction of the suburbs.

As a white artist, she is critical of her own voice. Noting that, “it’s a time and a space in South Africa where black artists should be prioritized. So I guess I’ve struggled to find myself relevance in the art world, but through the critique of my own cultural issues and the problematics is a way that I can approach it, without having my voice crowding out other voices.”

Credits:

Photography & Styling: Jamal Nxedlana

Makeup: Orli Meiri

Photography and styling assistant: Lebogang Ramfate

8 June 2018
A comprehensive look at South African femme artists practicing Surrealism and Expressionism

So what is Surrealism and what is Expressionism in art? Surrealism was defined by André Bretonin the Surrealist manifesto of 1924 as “Pure psychic automatism, by which one proposes to express, either verbally, in writing, or by any other manner, the real functioning of thought. Dictation of thought in the absence of all control exercised by reason, outside of all aesthetic and moral preoccupation.” Surrealism focuses thus on an intuitive processes of creation not meant to be an accurate depiction of the world and is not concerned with what is regarded as beautiful but is centred around the functioning of thought. Surrealism often relies on alternative realities and dreams, and the psychoanalytic. Expressionism can be explained as follows, “Expressionist artists tried to express meaning or emotional experience rather than physical reality. The artists manipulated their subjects’ appearance to express what cannot be easily seen.” Here I look at three South African femme artists who might fall into these classifications. I discuss why they might fall into these classifications, as well as whether these classifications are still of relevance today.

Marlene Steyn is a Capetonian artist who obtained her Master of Fine Art degree in 2014 in London from the Royal College of Art. Her immersive installation focused work creates an experience nurturing an eagerness for her constructed surreal worlds. Her idiosyncratic motifs morph through unnerving established notions surrounding themes such as historical art narratives, psychoanalytic theory and popular tokens from modern culture. With repetition and irregular combinations, Marlene creates eerie themes surrounding her work. Her symbolic visual language consisting of fried eggs, braided ropes of hair and the androgynous figure, molds into one as the key element of her practice.

Marlene has a peculiar ability to make violence playful in her work. When looking purely at the visual aspects of her art it can be described as disjointed body parts, animated features separated from faces, frying pans, fragments and distortions. The human body is depicted in her work as vulnerable, nude and disfigured with a strange beauty. This body represented in her surreal world seems to be provoked by various objects and sinister beasts. At the same time the work evokes a sense of happiness.

‘Aura hour with cucumber’ 2016 by Marlene Steyn

Some examples of pieces that display these mutilated bodies is ‘Ponytails Continued’ – a set of legs without a torso and a floating head with no neck as well as ‘In My other half’s other half’ – a single large blue eye skewered through a large sculpture peering up at the eyebrow above.

Marlene’s work can be considered to be surrealist in nature as she works with symbolism, a dreamlike, constructed reality and is concerned with psychoanalytic theory.

The next femme artist that falls into my list is Tash Brown. Tash is a Johannesburg-based painter who is currently completing her studies at WITS. I had an interview with her to see where she fits into the framework.

Tash expresses that her work can be regarded as surreal but that it is her reality. She prefers not to have her work tied down to a specific classification. Her preference is to let other people interpret her paintings, “A classmate once looked at a piece of mine and said it felt like a man had just killed someone but that was okay because his mom made him feel like it wasn’t his fault. I find that statement far richer than I could ever find my paintings.”

Tash has been known to venture from the traditional canvas to Perspex. Her colour pallet consists of pastels with exaggerated use of yellow and pink, “it is easy to turn them from something little-girl-pretty into vomit and vagina skin.”

‘Everything you’re not supposed to be’ 2017 by Tash Brown

As subject matter these grotesque haunting figures represent the artists, her lover, her family, her celebrity crushes and her dog. It is both strange and interesting that Tash would consciously choose to portray her loved ones (except for the dog, he always looks good) with such harshness. Tash’s surreal world is frightening, I dare say, but at the same time it depends on how you look at it. Tash doesn’t care if you believe that her work is self-indulgent trash. She doesn’t make work as a social commentary and in fact seems to just make art for herself instead of having some deeper meaning in mind.

Tash explains that the titles of her works come to her in the sense of automatic writing, when she finishes a painting she writes down whatever comes to mind. “I want the titles to be as vague as the works.”

When asked about the voyeuristic tone of her work Tash expresses that she couldn’t help but add a bizarre sexual undertone to her paintings. She believes that it explains why her work has a tendency to make people feel uncomfortable, yet fascinated. “I like to change a boy into a girl and cut off their lips and put it on a spoon and make the spoon have sex with a sardine and then force people to face it like maybe that is a spoon having sex with sardine, but maybe I like it.”

Her favourite work, ‘Everything you’re not supposed to be’, belongs to a larger series that was derived from screenshots of films she admires. “On the day it was painted I had just finished watching Tom at the Farm, a strange French sexual thriller. This painting is Tom and it’s also me watching Tom.”

‘Afterward, I’m going to have you all in tears’ 2017 by Tash Brown

Despite the fact that Tash doesn’t like to classify her work it is evident that it has surreal as well as expressionist tendencies. Surrealism can be seen as she creates an alternative warped reality with haunting figures and her work flows rather automatically. As was often associated with the Surrealist movement, Tash explains her work in a peculiar nonsensical manner, yet another characteristic. Her work leans to expressionism as she is clearly depicting a certain emotional and psychological state within her works.

Our last femme under the magnifying glass is Johannesburg artist Yolanda Mazwana, whose paintings depict the everyday, human elements in her life. Yolanda has confirmed that neo-expressionism is an influence for her raw, enthralling portraits.

Yolanda’s work is centered around mental illness, popular culture, phobias, relationships and storytelling. The figures in her work are sometimes disjointed as you can see a bodiless head floating in one of her paintings. It is clear to me that Yolanda has an interest in capturing the emotional states of her subjects in her work and that her work is not an accurate depiction of reality. Instead, appearances have been altered to show what cannot be seen with the naked eye.

Artwork by Yolanda Mazwana

Marlene, Tash and Yolanda’s work all share the common trait of either broken up human bodies or strange hybrid human forms. Marlene and Tash’s work are centered around an alternate reality. Marlene’s work is the closest to surrealism to me as she often makes use of symbolism in her work. All three these artists share very similar colour pallets in their work and are not interested in giving an accurate depiction of the world. Tash and Yolanda are both interested in the psychological states of their subjects. Tash’s work could be considered to fall in between both surrealism and expressionism, while Yolanda’s work is much more expressionist. Are these classifications important however? Perhaps. Perhaps not. As both Surrealism and Expressionism are definitely not practiced as it was intended with their formations. People sometimes refer to neo-surrealism and neo-expressionism now. I do however feel like we are living in a time where artists no longer feel a need to be bound to a specific classification and choose to work more freely.

Artwork by Yolanda Mazwana

18 October 2017
The Lesser-known Girls of Jozi

You meet interesting people everywhere. Some of the most intriguing womxn I have come across come from Johannesburg. It is with them, through taking their images, that I found raw beauty and authenticity. Here is a look at three lesser-known females.

Tash Brown

My first interactions with Tash were over social media after she had commented on some photography I did with her friends. I loved how sassy, witty and original her thoughts were. As we progressed to PM messaging she asked me to start a Burn Book with her over a cup of tea. I enjoyed this sassy film reference to the 00’s teen film Mean Girls directed by Mark Waters.

I met up with Tash on a Sunday morning at her home to photograph her. As I entered the door her mother offered me a cup of tea while she was busy preparing food in the green colored kitchen.

After my warm cup of tea was prepared, Tash and I moved to her room to select outfits for our shoot. We started working in her room and moved to the garden where I photographed her blending in with the greenery. We progressed to the spare room of the house where Tash pushed herself up against the window and hid behind the side curtain. Tash changed from her vintage floral shirt to a bralette and panties. It was amazing for me to see how comfortable Tash is with her body.

Tash is the kind of girl who can send you a perfectly articulated voice note while brushing her teeth. She changes her hair color sporadically this is done during bonding sessions with her boyfriend. She calls it “messing with her identity”. Her personality can only be described as vibrant. Everything about Tash is fascinating, from the way that she dresses in pale yellow thrift store dresses to the way that she speaks and the way that she paints. Tash even tap dances. She is currently a third year Fine Arts student at the University of the Witwatersrand and is inspired by artists like Tracey Rose, Dineo Bopape and Ryan Trecartin. Growing up with a mother who is an artist, Tash found her love for art as a child.

Tash describes her work as slipping between fantasy and tragedy. Her practice brings that which is hidden to the surface. The aesthetic value of her work is pink and over-stimulating which brings out the grotesqueness of her style. She relies on kitsch to symbolize the bad taste underlying in pop culture and the imagination. Her created fantasy becomes overbearing at times.

Her work strokes childhood innocence that is tainted. She relies on a balance of intimacy and isolation, depicting violence in a beautiful scene. Her work does not have a single message but holds on to a suggestive idea. Tash says in her artist’s statement that “A face doesn’t want to look like a face”. Have a look at her creations online.

Karen Du Bois

I first met Karen towards the end of last year when she started dating my best friend John. Initially I didn’t know what to make of her, as she was not very talkative. As time passed I got to know her, and her openness revealed itself. She can often be caught walking around singing to herself, as if she is creating a sound track to her day-to-day life. This is what I enjoy most about her.

I spent an evening at John’s place and the next morning I spontaneously decided to shoot Karen because I had my camera on me from a shoot the previous day. I applied some M.A.C Retro Matte lip colour on her full-formed lips and asked her to get into the tub with a white Adidas tee shirt.

As soon as Karen got into the water she immediately went into model mode and transformed from the quiet, pretty girl I had got to know. She was alive, embracing her womanhood and beauty. She was on fire, in her element and comfortable in her surroundings. Looking over my images the magnetism of her eyes is what grabbed me.

Karen has a beautifully raw yet soft childlike voice that echoes pure talent. She has recently completed her BCom Accounting at the University of Johannesburg. Her main focus right now is on making music, taking inspiration comes from Rihanna, A$APRocky, The Pixies and Amy Winehouse. She describes herself as experimenting with her limitations and has recently formed a band called The Black Panties with musician John Shepherd. She found her calling as a vocalist at church and was a part of the school choir growing up. The Black Panties’ musical style can be defined as edgy, and sometimes eerie, and falls within the death trap genre.

Give them a listen on soundcloud.

Rosa Elk

I met Rosa for the first time at a picnic in the Johannesburg Botanical Gardens when she was about 16 years old. From my first interaction with her, I was intrigued by how academically sound she was. Her knowledge on world history surpassed her age.

Meeting up with Rosa again years later was everything I thought it would be. As she walked up to my car to greet me she had a little dust on her because she had been working with archival material from the Wits Art Museum. Entering her room I saw a beautiful collection of artworks, and in her closet carefully hand-picked designer items that were minimal, striking and beautiful. While Rosa was selecting her wardrobe for our shoot I perused the titles of her books. All in mint condition, with titles such as On Photography by Susan Sontag.

Photographing Rosa was an interesting experience. We moved from her bedroom, that I felt said so much about her personality and attention to detail, to her garden that looks like a miniature version of the botanical garden where we first met. I was confronted the wildness of her garden and, as per usual not dressed for the occasion. I was climbing rocks in sandals in order to get the right angles for the shots.

Rosa has a spunkiness about her that I find refreshing. We brushed over many topics while shooting but the one that stuck out for me was our conversation about how children perceive the world. She mentioned that her younger cousin calls her garden “the jungle”. We indulged ourselves all afternoon with interesting conversations, an amazing collection of books and a cat called Madeline, flying up and down the scene of the shoot trying to catch tiny insects only she took notice of.

Rosa has a passion for art and although she can’t be considered a Fine Artist, she sure knows how to write about it. She has a BA degree in English and History of Art from the University of the Witwatersrand. Rosa can be found drinking cups of tea, reading books or crocheting. Her favorite artist is Lady Skollie. She loves collecting South African jewelry and is building an art collection that consists of student artist pieces.

7 April 2017