Artist statement
Beyond translating sound into a visual, Masemene has been drawn to practices that speak to unpacking and acknowledging the nuances of indigenous practices and knowledge in her routinely tasks. Through a body of work she delivers soundscapes existing in two different contexts (indigenous and contemporary) in a visual register. These soundscapes occupy space as a result of the tempo of bodies that exist within the surrounding.
“Ts’ilo le ho Sila” video installation , view in link below
https://vimeo.com/846392018?share=copy
“Frequency is not what we see but how we see” (Campt 2021:78). Within the Sesotho ethnic group, indigenous songs are at times sung through physically taxing tasks performed mostly by a group of women; e.g. grinding maize meal (ho sila, ho lila). Indigenous song then becomes the bedrock of Masemene’s practice as it facilitates the execution of the practices/tasks in question. It is through the song sung that certain aspects of rhythm and frequency manifest. Spaces in which these practices (ho sila, ho lila) take place withhold a sonic dimension or frequency that is formed but never acknowledged, it has become apparent that this element of sonic also exists within Masemene’s art making, it lingers in between the subtle movements during creation. Masemene works to acknowledge and document these common subtleties and frequencies existing in the two different contexts (artmaking space and indigenous space) , through still images, moving images and soundscapes.
“Litema series “
Linocut on Fabriano
48cm x35cm
In collaboration with Khulekani Magudulela
Masemene and Magudulela came together in collaboration to co-create through the techniques that they master in their individual art practices (pottery and printmaking). The artists look to repurpose indigenous knowledge and practices within a contemporary space that is a higher learning institution. In conversing through creation they allude to their cultural similarities and differences (Zulu and Sesotho).
“ Pula ea Melupe “
