Neither nor (2012)
Residues of a four-year obsession with
Balobedu, Anthropology and photography
3 boxes (wood, print on perspex)
Box 1: 6.5" by 8.5" Photographic prints on Epson Archival Matt with pigment ink, bound with treasury (red) tape and an embossed wax seal.
Box 2: Variable sizes, unfixed analogue photographic prints, bound with treasury (red) tape, and an embossed wax seal. .
Box 3: Screen, video work, 5”.
The box presents prints from the 2010 exhibition Gae Lebowa,
The box presents the installation residue – 'sensible objects' derived from the act of paying libation to Eileen’s dithugula (ethnographic photographic objects). These residues are in the form of blackened photographs produced through my photographic installation, Dithugula tša Malefokana: Seeing Other People's Stories, Telling Tall Tales (2012). The photographs enact the metaphor of ethnographic photography and the reality about the production of documentary photography in general. The blackened photographs are a glimpse of what a few people saw clearly. They are Malefokana’s dithugula because they are derived from her archive, and they are also my dithugula as I am the one that produced them and imbued them with knowledge specific to my time.
The box presents a video work invoking the process of seeing images from Krige’s ethnographic photographic collection develop from a blank sheet of paper into a darkening object as it develops in the photographic chemistry. The installation gives the viewer an idea of the ritual undergone by the audience during the original installation.