Names
Names are markers of identity, and I am interested in what names represent and what they reveal about history and place. It is common in South Africa to give a child two names: an English one and one in a South African language, the latter often involving a wish for the child or a reference to the circumstances of their birth.
In some of these pieces, I incorporate human figures and objects that relate to the individuals or to what they represent, or where they are from. These are partial portraits of that person, a collection of forms, objects and references that contribute to their identity.
The artworks are arranged with a full image and detailed sections below it. Photographing work on black fabric is tricky; the close-up details provide a full sense of the work.
This piece is inspired by female initiation shelters in the Machabeng Plateau.
The translation of Bokamoso is "the future"; both Bokamoso and Patience are girls’ names. The bowl of the spoon forms a moon. The figure is partially dotted, to merge her identity with those of her group (as zebras do in a group, zebras being an animal associated with the beauty of women). Moons form breasts, form spheres of life. The pattern cut into a skin apron recalls a gun's sight.
Bokamoso Patience
Embroidery and beadwork on fabric
88 x 214 cm
Private collection, USA
‘Seretse’ is Setswana for ‘clay that binds’ or ‘earth that rain has fallen on’. In summary, fertile binding. This is a portrait of my son at age 12.
Simon Seretse
Embroidery and beadwork on fabric
80 x 214 cm
Private collection, South Africa
Grace Unathi is a portrait of a rural woman. Unathi is Siswati/Zulu for ‘You are here’
Grace Unathi
Embroidery and beadwork on fabric
215 x 88 cm
Private collection, United Kingdom
My mtDNA (LOa1b) refers to my mitochondrial DNA which traces back to east Africa and the Ituri forest in the Congo. Some of my ancestors have been in South Africa for hundreds of years, the main slave trade from Africa into South Africa came via east Africa. In this piece I Imagine the journey that my maternal mitochondrial line has taken to get here; using references from the Congo.
My mtDNA (LOa1b)
Embroidery and beadwork on fabric
214 x 88 cm
Available through the Pippy Houldsworth Gallery (London)
The khata symbolises purity and compassion and is given to honoured people by Tibetan Buddhists. Desmond Tutu was fearless in questioning the South African government’s bias against the Dalai Lama. Both the Dalai Lama and Desmond Tutu have been awarded Nobel Peace Prizes. The washing peg refers to the establishment of the South African Domestic Workers Association (SADWA), which Leah Tutu founded. Desmond Tutu was the first Black Archbishop of Cape Town. St George’s Cathedral was his base; hence St George slaying the dragon, a metaphor that I selected to represent Apartheid. My reference was an image from a church in Lalibela, Ethiopia.
The two hands are the Tutus who married in 1955. Desmond Tutu was instrumental in transitioning South Africa to democracy, which is symbolised by Leah’s hand casting a vote. The hand holding the egg is a symbol of power inspired by West African fabrics. Hold on to power too tightly, and the egg will break; hold on loosely, and the egg will break. Desmond Tutu succeeded in holding power in balance. The landscape image refers to the gold mine dumps that surround the childhood homes of both Leah and Desmond Tutu. The hands across the chest are Desmond Tutu’s wearing his Anglican ring, cross and gown. I chose to focus on hands as they create, build, and communicate.
A khata cloth for Leah and Desmond Tutu
Embroidery and beadwork on fabric
76 x 76cm
Wits Art Museum collection, South Africa
Portrait of Hanneke Benadé
Embroidery and beadwork on fabric
103 x 115 cm
Private collection, South Africa
Graham and Rhona Beck portrait
Embroidery, beadwork and safety pins on fabric
6 x 2.5 m
Commission
