To be an artist – and assume this title – has very little to do with the progression or recognition of one’s work by an audience. Like many embodied identities, these aspects of Self were always there; and even when not yet realised in waking consciousness, these aspects of who we are exist as the subtle intentionality with which we move through our own lives. We just need to take up this mantle within ourselves.
Githan has been making art for many years; his career as a jewellery designer is inextricably linked to notions of art; using dry-clay to create cracked or shaped forms with embossed prints drenched in vivid colours that are akin to precious objects. Being an artist is deeply woven into the fabric of who Githan is – and moving into the process of sculpting from his initial inquiry into adornment (jewellery) to the idea of larger vessels feels like a natural progression. This can be seen with the vases in his first solo exhibition “Structural Integrity” at the new Norval Foundation X Boschendal manor house, and most recently in the Everard Read Gallery’s CUBICLE showcase featuring a series of sculpted handbags reminiscent of the micro Hérmes Kelly – this show aptly named “The Luxury of Wearing Fakes”.
“For my first show, Structural Integrity, I had the incredible privilege of opening opposite Zanele Muholi’s edition of Somnyama Ngonyama – especially because I have hung two of their series (another part of Sonyama Ngonyama and the Faces and Phrases series) in my time in the curatorial department at Zeitz Mocca. It was incredibly special to find myself in their presence again but in a very different capacity.” Githan states in our conversation. I am intrigued by this full-circle moment, and the idea that artists exist together in varying phases of the outward, physical feats of their career – unknowingly holding each other in bringing their expression into form.
Regarding the idea of vessels, Githan explains “this show is an acknowledgement of the temporal and sacredness of vessels. I wanted to explore objects that are intimately bound to change, yet represent some of our earliest conceptualizations of form – the vase very much represents that for me. Air-drying clay has a very interesting and playful nature as something that is kind of a fallacy – because it is “less functional” than fire-cast clay – but for me as a self-taught sculptor, it allows me to engage with the canon of ceramic-production in South Africa, but in a more queered manner because it is performed rather than being traditional. Air-dry clay presents difficulties in that it doesn’t hold large forms very well – and so it is subject to a lot more consideration for what it could become. When dried and painted, this type of sculpting renders the object completely decorative because it cannot hold any water or liquids. I really love this – there is a sensitivity and vulnerability in this way of making clay – and these are principles that I used when making my jewellery.
A key signature of Githan’s are the anecdotal inscriptions on much of his work – these epitaphs hold a relevancy and intimacy that he uses to engage his audience through language. It feels like a longer-form conversation than with Githan’s jewellery imprinted with monograms from the most recognizable luxury brands. On this, Githan explains; “The clauses I use tend to have a lovely ability to consolidate and make us all on the same page with one another. I find so many of these clauses, although said by either myself or my friends, remind me how important it is for us to destabilize the separateness occurring in the world – specifically through humour. They go from being very abstract to being very satirical, and in this suggestion of a joke, the audience is invited to engage with the work in whichever way they please. I want people to feel invited into the conversation and that they are also in on the joke.”
In Githan’s most recent show “The Luxury of Wearing Fakes”, it brings into question the meaning of luxury – a subject I grapple with daily in my own periphery to the fashion industry. In asking Githan of the current manifestation of “luxury” as inextricably linked to materialism, he said, “The notion of the fake bags and the way that I love wearing them is a performed critique on the idea of luxury. I am very aware that we have created a society in which we feel good about ourselves when we feel expensive. I looked at my time visual merchandising and reflected on how we exist in stores – where how much of us is for sale as the objects that we are lusting after? While the first show felt like the laying down of a foundation, this second show has felt more like I have had the capacity to have fun. I think being able to take relatively serious queries that I have and translate them through my own hands for the pursuit of these conversations is so beautiful. I feel very grateful to be able to do this.”
Colour is critical to Githan’s process – a symbol of his own relationship with the richness of expression with which he lives. We have had so much monochromatic minimalism defined to us as elegance, and so bright colours and shades of neon make me feel such joy when viewing both Githan’s jewellry and sculptural works; this is the root, perhaps, of his process – that his work elicits equal parts emotion as it is thought-provoking. We are so excited to witness more emergence from Githan as an artist weaving together essence and form.
Structural Integrity is on until the end of January 2022 at Boschendal Farm.
The Luxury of Wearing Fakes is on until 22 January at Everard Read Gallery.
