On the 30 August 2018 at the Pretoria Art Museum I had the privilege of interviewing Lebohang Khanye on her solo exhibition Mohlokomedi wa Torai. The body of work that she has produced for this project gives two matriarchical perspective of her family narratives from where Ke Sa Le Teng her SASOL New Signatures winning video installation left of
Senzo. I met good artists at the classes offered by the Johannesburg Art Gallery, one guy Blessing Ngubeni I also met him there. He works here now. So we were kept busy drawing each other, doing portraits. I enjoyed it very much... Mmutle. This is in 2006 Senzo. Yes, it was nice because I did not know… I never went to a place where they could offer a free art lesson, also free art material. I mean I just went there without anything so they gave us pencils and whatnot, we were seating and just drawing. Hanging around a group of artists it was also …blood to me, I felt like, very very good. For the first time in Jo’burg I was making friends and I was around people I could relate to. Sometimes we would seat and do portraits. I don’t know if I can jump to that place but what happened I found out now about those art classes they used to call them Taxi Art Classes. But back then I did not know that those art classes were funded by David Krut. Mmutle. So you only learnt about this later…? Senzo. I found out maybe two years ago or so. I was just chatting to David about that period of my life and he said ‘I was actually the one who funded the materials’
Mmutle. What was your experience of the, of the first solo exhibition that you had …and when was it? Senzo. My first solo exhibition I called it I ‘Naked Pressure’ it was in 2010 if I am not mistaken, because I met David Krut, no 2011, I met David Krut uhm, uhm after I won the David Koloane Award in 2010. Trhough the award I acquired a working space here at the Bag Factory for three months. I was working with three international artists, one from Holland and one from Germany. For the first time uBaba koloane, I call him Doctor Koloane, Pat Mautloa, these people were here, they were around me and they were mentoring me, being there molding me. In the morning before we worked they will have coffee with me and they will talk to me. They gave me the opportunity to explore what I wanted to explore.
Although I cannot speak with authority at the moment, but what emerged was an interrogation of the dwelling space, the flat, as a contested space between those who rent and those who lease
There I was on that Sunday beholding his rather stocky frame perusing Leornado’s anatomical facsimiles in Preiss Hal - one of the Art Museum’s gallery. It was five to six hours later after watching the pre-recorded interview of his. I chanced a greeting and I was delighted when he gave me a friendly reply punctuated by a slow and humbled voice. Such is the delight when an aspiring artist meets an established artists, polarity is established instantly. However my knowledge of Durant Sihlali is rather limited to books for I had only that one brief privilege encounter with him. His contributions to South African art started to flood my mind as time went by for I began to grasp the nature of black South African artists contribution to South African art later in my life.