I read elsewhere that writing is a solitary experience. I am agreed thus far because I spent numerous moments hunched alone on my keyboard. I sometimes wonder if anyone would notice my efforts. History is the mess that remains of our ancestors’ endeavors as they try to survive, whatever their motives are. One’s intentions in achieving a goal are not always squeaky clean as far as the ego is concerned and not to mention self preservation. Anyway to chronicle history honestly it would mean not erring as far as taking sides is concerned, but to give as precise a detail as a historian can muster.
There are certain instances whereby in analysing a visual art object one can simply commit a mistake by pitting that work against other artworks which, by some law of which one need not have to adhere to, seem to belong to the same category or genre. Such a viewing or a reading is problematic in that it delimits our independent viewing from making discoveries which can only be unearthed if that work was to be looked at in its own glory isolated from the accompaniment of other works which, if we are imbibed with an open mind, might even be proved to be inferior to it.
One thing that Art cannot separate itself from it’s the experience of its maker. Without experience art cannot be. It cannot spring out of a void and say something, it has to be a part of a particular reality to hold its ground. That anchorage, that experience is emphatically intertwined with the life of the artist. Art is a reportage, it is a reportage of a one point perspective of the artist as he or she goes through life. But unlike less gifted majority of the members of our society the artist is able, through his craft, to beam to the world their unique experiences in pictorial format just as a fiction writer is able to relate their experience through fiction as a metaphor of the real world. Such is the nature of Seemo Sa Boraro 2008. It is a report on the cramped space experienced by public transport users in South Africa. But what is profound about this artwork is that it is not just a vision that the artist as a shaman retrieves from the spiritual dimension or causal realm. The artwork represents the lived-real experience of the artists, Tshepo Mosopa.
Tshepo Mosopa is a contemporary artist based in Tshwane-Pretoria whose work has been shown in exhibitions such as The New Signatures Art Competition 2007, The Rehearsal Exhibition 2008 and For Sale Project Exhibition 2008. He is currently part of the final selection exhibition for the ABSA L’Atelier Art Award 2009. Mosopa is a member of the Creative Industries Consortium Tshwane and at the time of writing he is attending training in printmaking at the Artists Proof Studio in Newtown Johannesburg.