The emerging artist is reclaiming the black body on canvas for her first solo show
Accra's ADA \ contemporary art gallery is fast growing into a necessary stop for emerging artists across Africa and the diaspora since opening last year. It makes sense then that Zandile Tshabalala, the University of the Witwatersrand (BA)FINA candidate whose intimate self-portraits have made her name sizzle in the art world, should choose it for her solo debut.
Entitled Enter Paradise, Tshabalala's series approaches the idea of the idyllic state from all angles - sexual, emotional and physical. Admittedly autobiographical, dark-skinned, bald figures with bold red lips jump between domestic scenes and semi-abstract settings such as tropical treescapes. Lavish acrylics add dimension to moments of solitude - fuzzy-slippered feet on a bathmat, a figure in a textured gown reading in bed, another in animal print hiding behind heavy blooming leaves and unflinching nudes, among other things.
The obsessions with interior life and fantasy have a lot to do with the artist's experiences navigating 2020. "With Covid-19, I had to find a new way of living," says Tshabalala. "I have been alone in isolation consistently and have been projecting my reflections into my work. The global Black Lives Matter movement also led me to further self-awareness of the body I am in - that of a black woman - and taught me how not to let who I am be used as a commodity nor an excuse for inclusion or exclusion."
Juxtaposing who the black woman is and how she has historically been represented in (or absent from) the artistic canon is central to Tshabalala's work. She rebuts the idea of the black female figure as inferior or undesirable by painting confident women who are acutely aware of and in full control of their desirability. Empowerment is underscored by a strong gaze that lands squarely on the viewer. “The woman that is depicted is me,” she adds. “I do not aim or aspire to depict an exact likeness, but rather a reflection that is more internal, implicit. My paintings are very reflective of me as an artist, and sometimes there are clues in there as to how I think and who I am.”
Tshabalala is only the third artist to participate in ADA’s programme since it was founded by art advisor Adora Mba, following Nigerian artists Collins Obijiaku and Eniwaye Oluwaseyi. Here we learn more about the Soweto-born artist and her work.
At 22, you've already made a name for yourself and developed a distinct artistic style. When did you first realise you had a future in fine art?
I used to draw a lot of paper dolls when I was in primary school and thought I wanted to be a fashion designer. I was introduced to fine art in grade 10 through visual art classes. That changed my mind. My family was not happy about the decision, so I would say that studying art was a way for me to rebel. It is only in 2019/2020 that my works began to be publicly recognised and that I began to be taken seriously as a practicing artist inside my family and out.
Who is your work for?
To be honest, it is for me. I am a firm believer in starting with what you are most familiar with. I look for comfort, confidence and encouragement and project my observations and experiences. I am not the only person who thinks and feels that way, and thus the work becomes powerful and meaningful to other women as well, or to people who know women like the one I depict.
Do you think the views of black women in society are changing? If so, how?
The change is happening slowly outside of the "group"; however, it does make me happy when I see more black women are leading and creating their own spaces to take up and succeed in. I don't focus too much on society's views because one can only do so much. I would rather focus on us black women and how we view ourselves.
Do you think art is an essential tool for social change?
Most certainly. I believe that what you are constantly exposed to becomes your norm. If there is a particular type of art released in the world, one that is empowering, reflective and inclusive, its popularity can be influential in social change. That said, we need to be mindful of who is able to access those works of art and of who is not if we want real change.
Why was it important to paint figures who unapologetically face the viewer?
A direct gaze is a challenge and a way to divert from being present only for the consumption of the viewer. It is only recently that I started to unpack the idea of consumption. I used to depict my figures looking away from the viewer - suggesting that what the viewer is experiencing is a private moment that is meant for the person(s) depicted as well as those viewing – a shared, two-way and equal exchange.
Why is it important for black artists to take ownership of painting black bodies?
We are in these bodies and have firsthand experience of them. I think that we are the only ones who are able to tell our stories honestly and genuinely.
What does "paradise" look like to you beyond the canvas?
I had to find and make a utopia out of the most mundane activities and spaces. Observing and reflecting led me to a different kind of paradise. One that is always present but often overlooked. It is the exhale and the moments of simple leisure - getting lost in a novel, having a moment to put my feet up, dancing. I have reflected and depicted my own paradise and hope that the viewer does the same.
What is it like to be holding your debut show at a time when many people cannot engage in the gallery space in the usual way?
To be honest, I was upset about having such an important show - a defining moment to me - that I experience in person. But, being able to share my work always makes me happy. Like myself, many will be experiencing the works only virtually during the show, but for those who have the opportunity to attend, I hope that they seize that occasion.
You're the first rising female artist to exhibit at ADA. What does that mean to you?
I've patiently waited and worked for the show. I'm honoured to be the first woman showing in the gallery and trust that there will be many more after me. Having my first solo show in a gallery owned by a strong black woman is such a pleasure.
Zandile Tshabalala’s Enter Paradise is on view at ADA \ contemporary art gallery's until 18 April 2021