Art In Lockdown: Mary sibande

21 April - 1 May 2020

  • 'When the president first spoke of the idea of lockdown, people were like how is that going to be possible...
    "When the president first spoke of the idea of lockdown, people were like how is that going to be possible in a household where there are 10 people in a small house? And of course, the poor right now are suffering in comparison to the rich. It's quite a difficult situation, especially in the townships, where it's crowded. And a few people still think that this plague is a myth. It seems like for them it is a disease that is far away. And a lot of people are self-employed, so for them it's a question of should I feed myself and my family or should I listen to the president. There are a lot of push and pulls in our community. The government is trying to work around that, but at the same time they don't know how."        -Mary Sibande
  • "I think as human beings, as resilient as we are, we always want to look at summer. No one wants to look at winter. When one has a gift of being creative, you always want to create another world where justice is being served, where desire and truth exist, and all of that. We hardly ever look at the blues, the grays, the unwanted. It’s just the human brain, how it’s designed I guess. We kind of touch on the bad side of life, but we always want to create a beautiful picture that hangs on the wall—an alternative to what’s actually happening."
  • "It’s okay for artists to reflect. You don’t have to be making all the time. Sometimes you just have to stop in the center of everything and just look around, and absorb, and help, and just be there. And if you make it through, afterwards then you can tell a story. That’s my take."

    -Mary Sibande

  • ABOUT THE ARTIST


    Mary Sibande (b. 1982, South Africa) is a sculptor, painter and installation artist whose work not only engages as an interrogator of the current intersections of race, gender and labour in South Africa; but continues to actively rewrite her own family’s legacy of forced domestic work imposed by the then Apartheid State.

    Sibande employs the human form as a vehicle through photography and sculpture as a focused critique on the stereotypical depictions of wom-en, particularly black women in South Africa. The body, for Sibande, and particularly how we clothe it, is the site where this history is contested and where Sibande’s own fantasies can play out. This counter history takes the form of an alter-ego in Sibande’s early work, a persona by the name of ‘Sophie’ who is dressed in various uniforms that resemble the dresses worn by domestic workers. Altering these dress styles into Victorian motifs, Sibande completely reanimates Sophie’s history through how her body is adorned and the way she occupies these narratives that were stolen and denied from her. This is not just a political act, but one of transformation, as Sophie takes on new in-carnations of herself unbound from the laboured history of servitude; as it relates to the present in terms of domestic relationships. Transitioning from blue to purple to red, Sibande introduces us not only to the many faces of herself and ‘Sophie’, but to the complex person hoods of African Women who continue to create worlds and narratives outside of the canon of Western Imperialism. 

    In her newest work, we witness ‘Sophie’ as the High Priestess becoming the space between two realms; between the past and future, between what has been and what could be – she is fleeting, a personification of mystery and spirit which is unknown to the rational world. In this work, Sibande offers insight into the past, present and future, interpreting biblical and philosophical texts on wisdom into personal visions and prophecy. The Priestess represents magic and possibility through ancient cultural practices associated with sorcery whose traditions continue into the present day. Most importantly, she attempts to exploit supernatural forces by summoning the spiritual and medicinal role inherent to magic and its associated rituals, gestures and languages.