Renowned photographic artist Ayana V Jackson in conversation with her mentee, Phumzile Khanyile
Ayana on Phumzile From the moment Phumzile walked into my studio I knew my job be more done in terms of education for the black child in South as her mentor would be simple. Her series, Plastic Crowns, came Africa,” she says. “There is accessibility in terms of photography from so deep within her that only she knew how to extract it. From schools and learning to create works, but there isn’t really so much the onset it was conceptually and aesthetically sound. It was hon- access to the industry. So you find a lot of people studying and then est, it was relatable, it was… is… at once uniquely South African dying off, or they end up doing something they hate doing in phoand completely universal. It speaks to memory and the ways the tography just so they can create and make a living at the same time.” past and the present are conflated within the lived experience. She, however, won the luck of the draw. It is now two years She offers us a glimpse into her private self as she grapples with a since our first encounter and I have had the pleasure of seeing her battle so familiar to her generation of South Africans: what does it work explode onto the international art scene. I’ve come across mean to be suspended above the crossroads, at the intersection it at major art fairs in New York, Paris, London, and of course her of tradition and modernity? native Johannesburg. I am at once a proud mentor, a gushing fan In the series, Phumzile places her own body within the aes- and an awestruck spectator. thetics of twentieth-century point-and-shoot photography. Perfect I asked her to reflect on her journey thus far. “The first good in their imperfection, the images evoke family albums that, like choice I made was to work with Afronova Gallery, because they our subconscious, are pregnant with decisive moments from our take the time to teach me things and walk me through the process. past but somehow remain concealed, hidden from public view. I’m finding that I’m learning while I’m doing these exhibitions and Phumzile unearths these memories, dusts them off and demands selling works. It’s rare to find a situation where people are willing reconciliation. “I just felt like I was suffocating from both the de- to be transparent about what’s happening behind the scenes.” mands of what acceptable photography was, and dealing with my To add to this, Phumzile is also a new mother. While she was grandmother’s expectations of what being a good woman is, so busy bringing her art baby into the world, she was also gestatthe project became a way for me to raise the middle finger to both,” ing her daughter, Azania. “Having a baby is hard in any industry she tells me. because I don’t feel like the world creates space for mothers So much of this was clear at first glance. As a result, I had who still want to excel at what they do best,” she reflects. “I don’t nothing to offer her as she continued on her creative journey. My want to choose between raising my daughter and being an artist. only role, I felt, was to give her space to grow, to play, to flourish, Thankfully I have my mom and sister and a supportive partner. If it while at the same time drawing the best map I could of the poten- weren’t for them, I wouldn’t be able to travel. It really is different for tial challenges she would face as an artist. When I asked her to women. It sucks because most male artists don’t have this issue, reflect on the experience, she said: “Studying doesn’t prepare you they just move the way they always have.” for how intense the industry is. You aren’t really given the scope of In this, and in many areas of Phumzile’s life, she shows incredwhat the industry needs from you. It’s hit and miss. If you’re lucky ible strength. It has been amazing to watch her take the reins of you’ll find someone to teach you the ropes or take you by the hand her career, as well as motherhood, with such a confident grip. As and guide you through.” an artist who hates to be asked about future projects, I refrained As an outside observer I couldn’t agree more. Phumzile is just from asking about hers, but I must admit that like many, I cannot one in a sea of amazing photographers and visual artists of her gen- wait to see what comes next. eration, but talent aside, what sets her apart is her interaction with the Market Photo Workshop in Johannesburg. “There definitely can PLASTIC CROWNS. Copyright PHUMZILE KHANYILE. Courtesy of AFRONOVA GALLERY.
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