I’m talking to the woman in the mirror.

Words by Alex Gwaze (Curator)
Questions by Alex Gwaze and Terry-Jo Thorne (Researcher & Writer)

How often do you stare at yourself? I mean really examine your experiences, surroundings, dreams, trauma, passions and longings. Searching for inspiration and motivation; pealing away the layers you’ve constructed to protect yourself from the world, mainly other people. In this age of likes, views, triggers and commentary, the person staring back at you is often a fragmented ‘happy mask’, informed by a pre-existing audience of followers and contacts. People who are ready ignore you if you don’t grab their attention or distract them. But what if your audience sets aside time, money and effort to gaze at your likeness in a private space. What kind of picture of would you construct for them?

Nothando Chiwanga is a visual / performance artist and model who is not afraid to turn the camera on her true self. She studied visual arts and design at the National Gallery School of Visual, Arts and Design, and she was an artist in residence at the National Gallery of Zimbabwe. Nothando was also a part of the Art of Mufasa collective, UNESCO’s Resilitart Accelerator Zimbabwe, and the Rele Young Contemporaries at Rele Arts Foundation in Nigeria. She has exhibited her “self” made dreams, reality and pain to the general public, critics, collectors, and journalists at several exhibitions, namely: Madzimbawe Group Show at Akka Project Dubai, Arnheim Collection in Nigeria, and Notes for tomorrow at Sifang Art Museum in China.

Nothando performs her works (primarily using herself as the model). These days we are no longer talking to the self in the mirror but to a crowd of strangers on the other side of a two way public mirror. I guess this why we put so much effort into creating selfies. Our image is not produced for one self but for social capital. This is why I decided to talk Nothando, to explore how it feels to have people examine versions of you, in search of meaning and value.

AG: You primary work through Photography. A lot of women often end up in front of the camera, rather than behind it. What is it about taking photos that speaks to you?

NC: Storytelling is a constant foundation for my works. Sometimes photography reveals a love / hate relationship detailing the torment that I often feel as part of my photographic process. Some are up-beat, more melancholic in my presentation, but all bring out passionate, informed and engaged concepts from within me. Photography forces the viewer to stop and take stock, it forces self-questioning, reconsidering pre-conceived understandings. It makes me think. Honestly it helps me to see the beauty of everything.

TJ: These days everybody is a budding camera-person. However, you’ve studied Art, you are a professional. What would you say makes a great image?

NC: To me a decent composition with fantastic light and timing, with fantastic post-processing, can make a great photo. The same goes for an outstanding composition. You will be able to make up for the lack of light to some extent. A good image provokes an emotional response in the viewer. It doesn’t matter what that emotion is. It might be anger, sympathy, even lust! But an image that makes you feel something has succeeded. An image that needs you to explain what it’s trying to achieve is simply not strong enough. Good photography often has multiple layers and depth to it, when an image is strong the viewers will understand this. If you have to explain your composition to the viewer, your composition hasn’t worked (meaning the viewer has to interpret it his or her on way).

AG: You are a photographer yet you also work as a model (I don’t think Tamary Kudita’s Sony World Photography award winning portraits would have been the same without you).

NC: It’s hectic and amazing trying to pose for others and shoot yourself. To me I feel like some art rules are meant to be broken. I’m always experimenting, trying to catch moments or see things that others might not see. Photography is about pushing yourself and expanding your vision. As you shoot and experiment, the best tip I can give you is know your self. What you like and don’t. Keep trying things until you get very close to what you like.

AG: Because you are physically present in most of your works, I would call your genre, Self Portrait. Is this an accurate assessment?

NC: Self-portraits fit me because they reveal a greater emotional, communicative, social, and aesthetic layers. Such aesthetics can contribute to a better understanding of the human face, hence to a better understand of ourselves. Self portraits allow me to explore my identity, emotions, and physical appearance. They also serve as a visual diary of an artist’s life, documenting my artistic development. So in a way me and society are documenting our progress and development together (laughs). It’s more communal than one might initially think.

TJ: A woman’s body is often used by men in all kinds of expressions (especially as a status symbol in the arts) – an object. I feel like since you use yourself, your body as a medium or tool to express yourself, you have re appropriated the power of the male gaze.

NC: It’s another way of criticizing both the male and female gaze, because no one is like me (laughs). Honestly I rarely see people that look like me in fine art or popular culture. Creating a body of art using my self is a fulfilling and rewarding experience for me. It allows me to explore a theme or idea in depth and create a cohesive collection of artworks that share a common thread. It’s about engaging the ideas in this world from whoever they come from. It’s an outward introspection. Honestly it’s the responses to the work that are most illuminating. How someone reacts is often unpredictable because we might share certain ideas but we value differently, you know.

TJ: Yes, culture, especially traditions often inform what we find valueable. Your work seems to grapple with the modernisation of Zimbabwean culture.

NC: I can say the globalization era has exerted a great effect upon all cultures, but those that have been greatly affected are the youth. Globalization has visibly changed the nature of the relationship between the world’s youth and their sense of identity and traditions. For me, the Zimbabwean youth (who I am a part of) are most receptive, or, alternatively, susceptible to foreign cultural practices because of social media and migration. When people leave the country in large numbers and you absorb other cultures daily on your phones, radio and TV – it’s just natural to explore what this all means in your artwork. You are influenced by the times you are living in.

.

AG: You did a residency in Lagos. Nigerian and Zimbabwean culture are often misrepresented in the media. What was it really like in Lagos?

NC: Ooh! Lagos is famous for a multitude of reasons. From its rich history and culture to its vibrant nightlife and booming economy. For me, what I experienced was a power house of art, fashion, music, food and a culture that was alive in the streets and at home. I really enjoyed being in a different space from Zim but still feeling at home. I don’t know how to unpack it for you, just go there (laughs). Everyone needs to spend some time away from home.

AG: I’m always taken aback by the ideas and stories your images communicate. How do you figure out what you want to say?

NC: Thank you! I’ve always been a fan of MUD too. Especially the words and images. Now to what I want to say in my work. I have to say I start with understanding the basics of art: such as colour, shape, body, theory, and composition. This foundation helps me to develop a unique style that is both aesthetically pleasing and technically sound. I love to experiment and am not afraid to make mistakes. Over time, I know I will be able develop my own habits and trademarks that make my style unique and consistent. I value personality and coherence. But honestly often it’s starts with raw passion, and introspection – that helps me develop a theme to approach. A theme that I experiment with in different ways to get the desired intention. Intent informs meaning.

AG: A fan of a fan. Thank you Notie. Do you find that the general public does not fully appreciate performance and conceptual works, especially in Zimbabwe?

NC: (laughs) You know what, I feel like its always within us in terms of how we enjoy or trust in art. Because of our early education and misconceptions, art was or is seen as a “hurombe” type of job. The value of your art is what you bring to it. And you have to recognise those that add value to your work. Those who appreciate it. Pay attention to those who pay attention to you. You can’t please everyone but you can connect with someone.

AG: Deep (laughs). Talking about connection, you recently got married to Tariro Katau. So for my last question, I would like to know what has married life been like so far, Mrs Katau?

NC: (laughs) I feel it takes a lot of work like learning to live up, committing and learning to work through tough stuff to be together. Also I have to learn to be on the same team. Just coming home is the best part of my day, just to put on comfy clothes, order take out and watch something with my husband. My husband always has my back. His there for different stuff, it can be art, business, housework, a real partner. I married the right person who is my best friend, who is legally obligated to support me socially, physically, and spiritually till death do us part (laughs).

---

Follow Nothando at: @notie_chiwanga
Contact MUD Journal at: MUD & CO
SUBSCRIBE to MUD Journal at: MUD Journal
DOWNLOAD your FREE COPIES of MUD Journal here.