VISUAL ARTIST // SCULPTOR // MOTHER // VISUAL ARTIST // SCULPTOR // VISUAL ARTIST // SCULPTOR // MOTHER // VISUAL ARTIST // SCULPTOR // VISUAL ARTIST // SCULPTOR // MOTHER // VISUAL ARTIST // SCULPTOR // MOTHER // VISUAL ARTIST // SCULPTOR // MOTHER //
CREATING FROM A POLITCIALLY CHARGED SPACE // CREATING FROM A POLITCIALLY CHARGED SPACE // CREATING FROM A POLITCIALLY CHARGED SPACE // CREATING FROM A POLITCIALLY CHARGED SPACE // CREATING FROM A POLITICALLY // CREATING FROM A POLITICALLY // CREATING FROM A POLITICALLY // CREATING FROM A POLITICALLY
NEGOTIATING EXISTENCE // CELEBRATING RESILIENCE // NEGOTIATING EXISTENCE // NEGOTIATING EXISTENCE // CELEBRATING RESILIENCE // NEGOTIATING EXISTENCE // NEGOTIATING EXISTENCE // CELEBRATING RESILIENCE // NEGOTIATING EXISTENCE //
Royal purple - a pigment used in the water cannons gunned over protestors at a political march in Cape Town, September 1989.
A Reversed Retrogress- Scene 1
2013
A Reversed Retrogress - Scene 2
2013
The dye was intended to mark those who attended the protest. In the days that followed, the words “The Purple Shall Govern” were found graffitied around the city.
Three Ages
2008
The dye was intended to mark those who attended the protest. In the days that followed, the words “The Purple Shall Govern” were found graffitied around the city.
They Don't Make Them Like They Used To
2008
This phase sees a shift in Sophie as she calibrates her perspective —she appears now as a woman empowered, dynamic, and mysterious: absorbing the friction of protest, passion and change.
They Don't Make Them Like They Used To
2008
This phase sees a shift in Sophie as she calibrates her perspective —she appears now as a woman empowered, dynamic, and mysterious: absorbing the friction of protest, passion and change.
Introspection
2014
Allegory Of Growth
2013
Sprawling installations capture the overflowing energy of Sibande’s internal landscape as she turns the body inside out and locates it within a larger external environment.
A Terrible Beauty Is Born
2013
“I use my body as a canvas by moulding the figures into fibre glass. A similar process to that used to create mannequins.
The notion of gesture becomes a communicative device I utilise in the work, I often strive for complex movements. The garments also play a big role in that look and feel of performativity.
Beyond the sculptural, also employ my physical body photographically. In this process, I dress up in a garment that I have designed and perform for the camera.
I do not regard myself as performance artist, at least not in the traditional sense of performing live in front of an audience.
These processes allow me to be explorative about the work”.
Ascension Of The Purple Figure
2016
They Don't Make Them Like They Used To
2008
“The creatures are Sophie turned inside out. They are a look at intestines, an inspection of the mess within…”
Wielding the Collision of the Past, Present and Future
