Interview with South African artist Usha Seejarim on her exhibition Venus at home at the Johannesburg Art Gallery 10.02.-12.05.2013 …
The Soapbox: You describe your exhibition as an exploration of “two distinctly female roles”, namely your role as housewife or mother and artist. How would you describe your artistic strategy? Does it consolidate and celebrate these roles in revealing their creative potential or does it break with traditional ascriptions?
Usha Seejarim: It is definitely a celebration and consolidation of these two roles, hence the artworks created from domestic materials. The sculptures and installations are very playful and have a definite sense of humour. The two roles are enmeshed in my life, particularly since my children are physically within my studio space. So it is not uncommon to find a teddy bear next to the welding machine, a packet of diapers on top of my paper drawer or some of my kid’s drawings amongst my drawings. Given this juggle, it seems somewhat inevitable that such a body of work should manifest. One of the artistic strategies explored is the expression of a life strategy that I have adopted, which involves not only an acceptance but finding a sense of joy and inspiration in mundane, everyday tasks and chores. This is something that I have been fascinated with for a very long time, and it is increasingly surfacing in my work as a consistent element.
TS: When and why has your fascination with household products started? How did you discover their sculptural and aesthetic quality?
US: This fascination is not so much with household products as it is with the act of the everyday. It is the “unconscious” daily movements and activities that we perform that intrigues me. We all have a daily routine that we perform, and within this is an interaction with a number of objects whose value, aesthetic, function and meaning we completely take for granted. And by using these objects as material for artworks, there is an immediate elevation of their status as “ordinary” objects. This juxtaposition of familiarity and new configuration thereof is what enthralls me. The discovery of these object’s sculptural and aesthetic qualities became apparent through the sheer exploration of them as either artworks or material for artworks. After deciding what materials I would like to work with, I collect them and then go through a process of play. I configure them in different ways until there is an absolute knowledge that there is something magical happening here.
TS: We are especially interested in dynamics of art reception. Friends and neighbours donated the goods for your sculptures. Can you tell us about how they have reacted to the transformation of their donations?
US: The response to my request was overwhelming. I received a phone call, for example, from an elderly woman who received an email from someone I don’t know and said that she had one very broken broom to donate, she has no transport to get to me and would really like her broom to be included in my artwork. I was equally curious about the response to their transformation as many of these donors are not so familiar with contemporary and conceptual art. My expectation of their expectation was one of something pretty and traditionally beautiful. While it was clear that the work was beyond anything they could have expected, they seem to enjoy the work. Many were excitedly identifying their particular materials within the installations and the overall feedback has been positive. Many spoke of the familiarity of the domestic and their ability to relate to the work. Most of the donors and other individuals get the humour in the work and offer their own insightful interpretation.
TS: Thank you, Usha, for sharing your approach.
Tags: Female roles
Die
Am 18. November 2024 um 02:23 Uhr
Sprunked has a unique charm that keeps me coming back. The combination of quirky characters and engaging gameplay creates a delightful experience. I love how it captures the joy of music creation while keeping things fun and lighthearted. It’s a game I can’t get enough of!