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‘Unikezelo’ / The process of handing over

In Unikezelo (“to hand over”), I stand atop a heap of manure, draped in white canvas, wearing a skeletal tube skirt—a form both stark and suggestive. The setting and composition evoke dual narratives of reclamation and transformation.

The manure, often discarded and undervalued, becomes fertile ground—a symbol of possibility and rebirth. It anchors the work in the conversation around land reform in South Africa, urging viewers to confront the histories of dispossession and imagine alternative futures where land is returned to those from whom it was taken. The act of “handing over” is not just about justice but also about renewal, growth, and healing.

The white canvas is both a shield and a shroud, representing purity, negotiation, and the weight of unspoken truths. It envelopes the figure, blurring boundaries between the body and the land, between vulnerability and strength. The tube skirt, skeletal and raw, references the frameworks imposed on women’s bodies—structures that confine yet also support narratives of resilience and possibility.

This work is part of Uthethathethwano (“Negotiations”), where I explore the tensions between past and future, personal and political, body and land. In Unikezelo, I ask: What would it mean to truly hand over—land, power, agency—and what realities might emerge from such acts of restoration?

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Title: 'Unikezelo' / To Hand Over

Photographed by Lauren Theunissen

2020

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Title: Uthethathethwano / Negotiations

In this image, the land and the Black female body become one, bound by histories of violence, resilience, and renewal. Draped in the soft, green embrace of cabbage leaves and crowned with corn husks, the figure transforms into a vessel of life and memory—a living embodiment of the land’s sacred, unyielding essence.

The work speaks to a deep wound: the colonial hand that seized fertile soil, stripping indigenous people of their birthright, while patriarchal forces sought to claim the bodies of Black women, severing their autonomy. Both the land and the body—places of creation, nurturance, and abundance—were reduced to sites of extraction, silenced under the weight of power and greed.

Yet, amid this sorrow, the Black woman’s body—like the land—refuses to yield completely. It bears fruit, it nurtures, it resists. The image becomes a reclamation, a reminder that what was taken can be reimagined, that what was stripped bare can bloom anew. The cabbage leaves and corn husks are not just adornments but armor—both fragile and strong, natural and divine. They whisper of cycles, of seasons, of the eternal connection between the earth and those who walk upon it.

Uthethathethwano reminds us that the land, like the body, holds memory. It remembers what was planted, what was taken, what was lost. It remembers the hands that cared for it and the boots that trampled it. And like the land, the body carries its own stories of pain and triumph. In drawing these parallels, this work does not just mourn the past—it imagines a future where both land and body are free to flourish, unclaimed, unbroken, and sovereign.

Photography by  @lauren.theunissen 2020

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'Multividual Realms'

2020

by Lesego Seoketsa

In this collection, including the pieces Multividual, Cost of Living, Headstrong, and others, the artist creates a vivid, introspective journey into the layers of identity, culture, and self-perception. These works come together as a meditation on the “multividual”—a term that reflects the artist’s exploration of the self as a complex, multi-faceted entity shaped by various identities and histories. Each piece peels back the layers of personal and cultural identity, revealing an intricate dance between presence and absence, fullness and fragmentation.

The figures in these images are marked by both ancestral and ritualistic symbols, partially shielded by hands or structures that protect yet reveal. Through these gestures, the artist delves into themes of belonging and self-acceptance, with each hand or gaze suggesting a form of selective revelation—what one is ready to face, or hide, in moments of prayer, meditation, or introspection. These elements emphasize the tension between what is shown and what is concealed, embodying a process of both self-protection and self-revelation that resonates with anyone who has experienced cultural duality or an evolving sense of self.

The imagery also engages with broader social and economic realities, as seen in pieces like Cost of Living, which reflects on the constraints and complexities faced by marginalized bodies navigating modern landscapes. The figures stand within or emerge from structures that evoke the notion of “home,” yet these are homes that are not entirely complete or accessible. This evokes a powerful metaphor for the fragmented experience of those who feel both within and outside their cultures and communities, highlighting the struggle for belonging amid shifting cultural and generational landscapes.

Through Headstrong and other pieces, the artist emphasizes resilience and the act of holding space for one’s power, even when it feels neglected or avoided. In each work, the body becomes a site for personal and ancestral stories, embodying the strength, contradictions, and fluidity that come with navigating multiple identities. This body of work ultimately invites viewers to see identity as a constantly evolving tapestry—one woven from heritage, self-assertion, and the courage to exist as a “multividual.”

In these six images, the artist has created a reflective and layered portrayal of the self as a “home” that is continually built and redefined. By confronting themes of visibility, invisibility, self-protection, and revelation, this collection encourages us to engage with the complexity of our own identities, recognizing the beauty and strength found in our multi-dimensional, resilient selves.

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'Umzimba Yikhaya' (The body is a home)

2020

The title, umzimba yikhaya (“the body is a home”), adds a powerful layer to this piece, deepening its exploration of identity, belonging, and self-containment. Here, the body becomes a vessel for heritage, memory, and identity—a personal “home” that carries culture and history within it, regardless of physical location. The figure’s partial presence within the traditional structure suggests that true belonging may not lie in external places but within oneself. This body-as-home concept emphasizes that identity is an internal space where one can find rootedness, even when external connections feel fragmented.

The cutout and layered imagery speak to the idea that the body, like a home, is a place of both fullness and absence, continually shaped by the experiences and histories it holds. The white space that outlines the figure may symbolize aspects of the self that are still forming, being reclaimed, or have yet to be fully understood. The body, as depicted, becomes a landscape of both presence and mystery—a sanctuary that holds inherited wisdom, resilience, and ongoing self-discovery.

By grounding identity in the body, umzimba yikhaya invites viewers to consider how they inhabit their own sense of self and how the “home” they carry within offers refuge, strength, and continuity amid change. This artwork reminds us that the body is a sacred dwelling, holding within it all that we are, all we have lost, and all we seek to become.

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Multividual (ii)

2020

This piece delves into the layered act of self-protection and selective revelation. The hand covering one eye functions as both a shield and a filter, allowing only a partial view of the self—just enough to confront what is necessary while guarding against what may feel overwhelming or unready to be accepted. This gesture suggests a deeply human impulse to protect oneself from aspects of identity or history that may be challenging to face, while still engaging in a process of self-discovery.

In this way, the hand serves as a mediator between the seen and unseen, the known and the yet-to-be-known. It offers a form of gentle control, allowing the figure to take in only what they can process, a step-by-step journey toward self-acceptance and reconciliation. This nuanced covering, neither a full mask nor a full revelation, speaks to the delicate balance of vulnerability and self-preservation, especially in the context of cultural and personal identity.

The figure’s expression, firm and introspective, mirrors this inner negotiation. They are willing to look inward but on their own terms, at their own pace. The hand, with its painted markings, becomes not only a protective gesture but also a guiding force, leading the figure closer to a fuller understanding of self, heritage, and resilience. This work invites the viewer to consider the ways we shield ourselves and the slow, careful process of uncovering truths that shape who we are.

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Untitled

2020

This piece explores the tension between self-reflection and self-assertion, drawing from the practices of prayer and meditation. The dual figures, painted with ritualistic markings, represent different aspects of identity in conversation with one another, unified yet distinct. Their postures—one with hands crossed protectively, the other with hands joined as if in prayer—invoke a sacred space of contemplation. They are engaged in a quiet dialogue, symbolizing the act of looking inward and finding strength within.

The fiery halo of reds, oranges, and yellows behind them serves as an aura of resilience and inner power, like a flame that both grounds and elevates. This energy emanates outward, suggesting that through moments of prayer and meditation, one can access a source of inner radiance and ancestral strength. The interplay of light and shadow, paint and skin, speaks to the complexity of self-discovery and the journey of navigating personal and collective identity. This work honors the sacred act of introspection and the profound connection to the self that emerges in moments of silence and stillness.

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'Headstrong'

2020

'Headstrong' draws the viewer in with a haunting duality in the figure’s face, set against a fiery halo that is both striking and enigmatic. There’s a sense of resilience, vulnerability, and an otherworldly power that resonates here, giving us insight into the complexities of identity, self-perception, and the layered experience of being an African woman navigating her place in the world.

The double face, where two expressions overlap, might be interpreted as a visual representation of dual consciousness—a concept explored by W.E.B. Du Bois, who spoke of the “two-ness” Black people experience, viewing themselves both through their own lens and through the distorted perceptions of a society that marginalizes them. In this piece, the two faces appear both weary and strong, perhaps signaling the tension African women often feel between who they truly are and who they’re expected to be. This duality captures the internal dialogue many Black women hold as they reconcile their authentic selves with the external pressures and biases they face.

The figure’s skin is adorned with white markings, evoking ancestral and cultural practices, possibly hinting at spiritual protection or the invocation of ancestral strength. These markings ground the subject in a rich heritage, acknowledging a connection to history, lineage, and a sense of self that transcends the present moment. They remind us that African identity carries with it a legacy of survival, resistance, and resilience passed down through generations. Here, the markings may be an assertion of pride, a refusal to be stripped of identity despite a world that often erases or commodifies it.

The colors in the halo—red, yellow, and orange—create a fiery aura that suggests both warmth and intensity. It brings to mind flames of passion, rage, and an indomitable spirit, as well as the radiance of self-affirmation. This vibrant halo could represent the inherent power and beauty that African women possess, a force that is undeniable even when surrounded by adversity. At the same time, fire is a transformative element; it destroys, but it also purifies and renews. This suggests that the journey of self-discovery, especially within the context of being African and female, is a process of constant transformation. The figure’s expression, somewhere between introspection and resilience, implies that this transformation can be both painful and empowering.

The figure’s posture is notable as well—her hand lies over her heart, a gesture that can symbolize self-protection, vulnerability, or the reclamation of her own story and value. It’s as if she’s holding onto herself, affirming her worth amidst a world that might not always see her full humanity. In the context of identity, this gesture becomes an act of self-ownership, a way of saying: “I define my own value. I belong to myself.” The hand placement also feels intimate, almost ritualistic, further tying her to ancestral rites, possibly echoing practices of grounding oneself and affirming one’s identity in the face of external challenges.

Moreover, the split face against the fiery backdrop suggests a woman who embodies multiplicities. African women often inhabit many roles—daughter, sister, mother, leader, healer—each of which demands different parts of themselves. This split imagery could speak to the emotional and psychological labor of balancing these roles, of constantly shifting between different “selves” to survive and thrive. It hints at the complexity of identity as both collective and individual, as African women carry the stories of their communities and ancestors while also striving to carve out their own paths.

Lastly, the absence of a fully unified face could signify the ongoing journey of self-discovery and the quest for wholeness. African women are often tasked with finding themselves within fragmented narratives—whether those be from colonial histories, societal stereotypes, or the burden of expectations. This artwork acknowledges that identity isn’t fixed; it’s evolving, and in that evolution, there is power. This layered face, held together in the middle of a radiant, fiery halo, suggests that African women are reclaiming their narratives, choosing to hold onto the parts of themselves that society tries to divide.

In essence, this piece captures the tension, strength, and beauty in the process of self-definition. It speaks to the complexities of being a Black African woman—the layers of history, pain, power, and resilience that come together to form an identity that is fiercely individual and yet deeply rooted in community. Through this piece, the viewer is invited to witness the journey of self-affirmation and the beautiful struggle to hold onto one’s full humanity in a world that often doesn’t see it.

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'Headstrong'

2020

Artist’s Statement:

“This piece is a meditation on the complexities of self-identity and transformation. The doubled face represents the many layers of the self, embodying the idea that we are constantly evolving, shifting, and reconciling different aspects of who we are. The surrounding vibrant colors—warm hues of red, orange, and yellow—suggest a halo, yet they are rough and imperfect, reflecting the rawness and intensity of personal growth.

The white markings on the figure’s skin connect her to ancestral wisdom and ritual, grounding her in something timeless amidst the fluidity of identity. They symbolize resilience, a reminder of the strength that runs through our veins even as we face the challenges of change and self-acceptance.

This artwork invites viewers to consider their own journey of self-exploration. It’s about embracing the beautiful, often painful process of becoming, and recognizing that every layer—every face we wear—brings us closer to our true selves.”

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'Cost of Living'

2020

Cost of Living addresses the unsettling reality of how society often commodifies and undervalues identities, especially those of Black and African women. At first glance, the discount symbols and faceless figures in the piece suggest a transactional view of personhood, where value is quantified and reduced to a price tag. This imagery speaks to how, in various ways, the world attempts to define the worth of African women—be it through beauty standards, social expectations, or economic valuation—often ignoring the richness of their lived experiences and intrinsic dignity.

The facelessness of the figures in this artwork becomes a powerful statement on erasure. It highlights how African women are frequently overlooked, silenced, or rendered invisible in global narratives. By removing the individual features of the women, you’ve created a visual metaphor for this loss of identity. They become symbols rather than people, stripped of their voices and histories. In a world where Black and African women are too often generalized or stereotyped, these faceless forms underscore how society reduces them to roles, whether as caregivers, commodities, or symbols of strength—roles that don’t account for the complexity of their humanity.

The pricing and discount symbols are particularly striking, as they juxtapose commercial language with something deeply personal. They reflect the reality that African women’s bodies, labor, and even cultural expressions are often exploited or undervalued. There’s a sense here of the “cost” that comes with merely existing as an African woman—of constantly having to prove one’s worth in a system that seeks to discount it. This imagery also hints at how African and Black aesthetics, traditions, and culture are frequently appropriated, used for profit, and then discarded. It’s as though the very identity of these women is something to be sold to the highest bidder, stripped of its true value and then offered at a markdown.

The white markings on the skin of the figures ground them in heritage, reminiscent of ancestral practices and a connection to the past. They serve as a reminder that, despite the commercial symbols and societal erasure, these women are not commodities; they are the product of generations of resilience and wisdom. The markings become a counterpoint to the discount symbols, anchoring the women in their cultural roots and asserting that their value is beyond economic calculation.

Moreover, the piece also explores the concept of emotional and psychological “cost.” The act of existing in a world that constantly seeks to define and diminish African women takes a toll on mental health and self-identity. It is a cost that often goes unrecognized but is deeply felt. This notion of “cost” can be interpreted as the sacrifices African women make daily—navigating spaces where they are either undervalued or hyper-commodified, juggling the weight of expectations, and finding ways to affirm their worth within systems that may not recognize it.

Cost of Living thus becomes both a critique of capitalism and an exploration of identity. The figures, with their faceless forms and marked skin, speak to how African women are expected to perform, to conform, and to embody certain ideals that are profitable or palatable to others. It invites viewers to confront their own complicity in this commodification and to consider the profound injustice of reducing any person’s value to a number.

This piece is a haunting reminder that the worth of Black and African women is incalculable, far beyond any discount or dollar amount. It is a call to see them in their full humanity, with their histories, their challenges, and their triumphs intact. Through Cost of Living, you’re challenging the viewer to question who gets to assign value, and why, and to recognize that every life has a cost that transcends money—especially when that life is lived in defiance of a world that tries to put it on sale.

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'Cost of Living'

2020

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Multividual (i)

2020

Artist’s Statement:

“In this piece, I explore the complexities of identity, self-acceptance, and the unseen hands that shape who we are. The doubled face represents the duality within—the push and pull between our inner selves and the roles we play in the world. The hands, reaching from all directions, embody both nurturing and intrusive forces, reflecting the influence of culture, relationships, and societal expectations on our sense of self.

The white markings on the skin are inspired by ancestral traditions, connecting the figure to a lineage of resilience and ritual. They speak to the idea of identity as something sacred yet continually evolving, something that we carry with us but also confront.

This artwork is an invitation for viewers to consider their own journeys of self-discovery. It’s about embracing the beauty and complexity of our layered identities, understanding that growth often means facing parts of ourselves that may be uncomfortable or challenging. For me, this piece is both a mirror and a meditation—a visual expression of the profound and sometimes conflicting influences that shape who we are.”

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'Multividual (i)'

In Multividual, the doubled face and multiple hands reaching toward the figure can be seen as a visual expression of the layered experience of being an African woman in a world that often seeks to define her by narrow stereotypes or ideals. The figure’s two faces speak to the multiplicity of identities she holds—the intimate self and the self shaped by cultural expectations, history, and the external gaze. This duality may reflect the tension African women often feel between honoring traditional values and navigating modernity, or between self-acceptance and societal pressures.

The hands, some gentle and others more assertive, can represent both nurturing and controlling forces—ancestral ties that ground her, but also societal expectations that attempt to confine her. As an African woman, these hands may symbolize family, community, and tradition, with all the support and expectations they bring. They’re a reminder of the strength passed down from those who came before, yet also signify the responsibility to uphold a legacy while forging one’s own path.

The white markings on the skin evoke spiritual and cultural symbolism, grounding the figure in a lineage that carries wisdom and resilience. For many African cultures, body markings and adornments hold deep significance, representing rites of passage, protection, or social status. Here, they can be seen as an embodiment of ancestral guidance and a reclaiming of identity, a counter to the erasure that women of African descent have historically faced.

As an African woman, the figure navigates layers of identity that intersect in complex ways. There is the woman she is in her community, the woman she is in society at large, and the woman she is in her own mind and spirit. This layered experience is further intensified by the legacy of colonialism and the globalization of beauty standards that often disregard African aesthetics and values. The two faces, then, might also signify this push and pull between internal validation and external validation, between the pride in her heritage and the challenges of representing it in a world that may not fully understand or appreciate it.

Multividual is not just about the individual; it’s about the collective identity as well. The figure’s complexity embodies the African woman as both a singular being and a representative of generations past, present, and future. She carries with her the stories of her ancestors, the struggles and triumphs of African womanhood, and the resilience needed to exist authentically in a world that often seeks to define her through a limited lens.

This artwork becomes an invitation to viewers to confront their own assumptions about identity and to recognize the intricate reality of what it means to be African, to be a woman, and to be a multividual. It challenges the observer to appreciate the strength, resilience, and depth in navigating multiple worlds—those of heritage, self, and society—while striving to remain whole.

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'Birth of Mother II' 2023

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'The Desert II' 2023

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'Motherhood wilderness'

2023

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'Flesh, Bone, Blood' (left) 2023

'Breastmilk' (right) 2023