Artist-lecturer showcases heritage at prestigious art fair

12 minutes ago4 min read

by Gerrit Bester

Kgaogelo Mashilo, affectionately known as Cow Mash, is a dynamic force in the art world and a passionate lecturer at the Tshwane University of Technology's Department of Fine and Studio Arts. This year she made waves as one of only ten artists selected to present a solo exhibition alongside talented artists and galleries from around the world at the prestigious Investec Cape Town Art Fair, the largest contemporary art event on the African continent, from 19 – 23 February, themed Play. She spoke to us about the experience.

Can you tell us how you began your artistic journey and what sparked your passion for art? To be honest, I don't know. I have always been creative for as long as I can remember. In a family of four children, three of us are artists, so maybe there was something in the way we were brought up.

What does it mean to you to be selected as one of the ten artists to have a solo exhibition at the Investec Cape Town Art Fair? It means that I get to show my work alongside other great artists at an international art fair. I was very excited to be part of the cohort that gets to respond to the theme of Play and see how it manifests in ten different perspectives.

What was the title of your exhibition and tell us a bit more about it. I titled my offering Plastic Kraal. I have conceptualised the plastic kraal to be a result of what happens when we lose touch with our traditional and indigenous knowledge. It becomes my fantasy world of “what if” that also displays the dystopia of losing knowledge systems that served us well.

What are some of the recurring themes in your work and what inspires you to explore these themes? My current work explores Cow as a farmer and indigenous ecological wisdom, particularly that of women. This work is inspired by my maternal name Mothepa and how they were farmers and women who knew a lot about plants, land and healing. All their knowledge is something I have not been privileged to gain in abundance because my family migrated from Limpopo to the suburbs, which meant my access to elder communities was limited. I feel a responsibility to search for the meanings of my names and the female legacy of Mothepa so that I can archive what I have not been able to access.

As a lecturer at the Tshwane University of Technology, how do you approach teaching art to your students? What do you hope they take away from your classes? I like to encourage my students to conceptualise from a personal point of view. That if they understand themselves, where they come from and how that unique body fits into the puzzle of the political world, then their art/design can teach so many people how the world works on a relatable level. I hope they take away that every story matters and every personal experience can really put so many political debates into perspective.

How do you see your work contributing to the representation of contemporary South African art on the global stage? I can only hope that my work is a portal for conversations that we would otherwise whisper. That we can speak openly and constructively to create openness. I see my work as part of the many black female narratives that still need to be told and heard globally.

Could you take us through your creative process? How do you develop an idea from concept to finished piece? I started with my personal story and built a world for myself through art. Sometimes the images of the final work come to me and I try to fulfil that mental image by creating it in the physical world.

The real answer to this question is: A magician never reveals his/her tricks.

What was the response to your work during the art fair and what kind of conversations do you hope to spark through your exhibition? It was a really great reception. I was surprised that people got it. Without reading about the work, many people understood the narratives about land, women and indigenous knowledge. It was humbling to see that even people who I thought would not necessarily understand the political statements that my work is attached to, had gratitude for my perspective and personal experience.

We had many conversations about land, privilege, ecology, spirituality, etc. These are all the conversations I had hoped my work would make space for.

Are there any upcoming projects or collaborations you're excited about that you can share with us? Look out for my collaboration with Stork Country Blend – I have created an edible piece for their new butter spread (see https://www.youtube.com/watch?v=tC2hBmdYYWM).

I have also brought together a group of students I have taught and mentored over the years to form an art collective called the Pitori Thread Collective. I am really looking forward to being their 'momager' and seeing their textile and fibre-based artworks take over the world, representing narratives and techniques that are a result of their meeting and creating in Pretoria.

What advice would you give to emerging artists looking to gain recognition in the art world? Work together. Success is better achieved in community. Form groups, share and work together to access opportunities. There is enough for everyone.