aesthetikselektor
SPRING ISSUE SEPTEMBER 2022
This issue is a lesson in self-belief and self-reliance. Inspiring stories of confidence, the power of authenticity, and standing out in the much oversaturated realm of art. Our contributors are renowned masters in their respective fields, bringing insight into the direction of their work as they evolve.
In many ways, this issue is a continuation of volume 4, in which we ran the lead “Sapere Aude!” - a Latin phrase which loosely translates to “dare to know.” Coming from curiosity and stories of gaining wisdom, volume 5 is a celebration of those who’ve dared to follow through on their ambitions.
Immortalizing Great Taste
Qaphile Editor-in-ChiefLanga
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®
These are the Future Pioneers.
We’ve played around with our by line quite a few times, looking for a potent summary of our mission: encapsulating the authentic African experience through art. That in itself is a mouthful, and perhaps offers too much room for limitations. Not all our stories are African, nor are they all art (in the conventional sense of the word). So when it came time to conceptualize this issue, coming up with the theme: Future Pioneers, we were left in awe by our contributors... realizing just how diverse the space of art is and how each one is a master of their respective aesthetic. We found ourselves in the privileged position to archive it all. Immortalizing Great Taste.
Future Pioneers
September 2022 aesthetikselektor 3 A Product of CHAMAELEON COLLECTION (Pty) Ltd. 2022©
4 aesthetikselektor September 2022 ContentsFeature Page 24
Themba Shabala
Maybe if we began to see movement as something that is present in every act, within everything everywhere… maybe then even the smallest motion in progress will be given it’s deserved appreciation. I wanted my art to represent this same notion in motion, to get the mind to perceive movement and stillness as the same thing.
Long Travels - Chaka Dlamini
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Based in the Eastern Cape of South Africa, Kamvelihle Netjies is a renowned self-taught visual artist currently enrolled in his third year of study at Rhodes University. As a realism enthusiast, he is best known for his realistic black and white pencil sketches and paintings.
Kamvelihle Netjies
Opinion
Page 6
Within the layering of Themba Shabalala’s work liesa deep engagement with experiencing the present moment of life. There also exists an understanding of the interconnectedness of all things. His is evident in works such as ‘Layers of self’ which is an interrogation of the interconnectivity of life.
September 2022 aesthetikselektor 5
The aesthetikselektor family was introduced to Liam and his surrealist work in the second volume released in September 2021. His striking imagery and knack for organically curated environments and special effects were far too intriguing to pass up in an issue about masters and pioneers of their craft.
Opinion
All art is, to some degree, a reflection of the artist. Just their decision to draw a certain subject reveals a lot about them. I choose to draw draw monsters because I have seen some up close and personal. Putting them on paper is a form of excorcisim for me.
Liam Wright
Everyone has a different idea of what the world’s biggest problem is, so nothing is ever truly resolved. Of course many of the issues we face cannot be solved overnight, or even in the short course of a year. But there is a disagreement on the number one priority.
Sakhile Simelane
Cover Story Jay Callahan Page 48
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Cash 4 Scraps
Future Pioneers
Sakhile Simelane began modeling in 2016 as if answering a calling to a purpose she would only realise a bit later through the impact of her work. Her willingness to entertain different ideas, working with various talented creatives, has granted her a greater understanding of her own style, ensuring authenticity in her work.
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“ There is no ugly artwork, and a finished artwork necessarilydoesn’thave to be complete.”
Kamvelihle Netjies
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By Kgosietsile Lebhuru
Photographed by Nape Mpahlele
Based in the Eastern Cape of South Africa, Kamvelihle Netjies is a renowned self-taught visual artist currently enrolled in his third year of study at Rhodes AsUniversity.arealism enthusiast, he is best known for his realistic black and white pencil sketches and Kamvelihlepaintings. describes his work as a manifestation of his passion for bodily artworks and particularly his fascination with the art of the feminine body.
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“Someartworks.peoplemight think it’s pornography or think less of my decision to draw just naked women and not men, but in reality the female form is really intriguing and serves as my main source of inspiration.”
“The produce of your hands speaks for you in your absence. Your hands open doors to elegant rooms of art, your hands are the architect of your career.”
Future PioneersVOL. 5 SPRING ISSUE Immortalizing Great Taste
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Visual artist, Kamvelihle Netjies, began his creative journey in his days of primary school, improving where he can through selftaught lessons with the help of YouTube. Pursuing a degree in art Rhodes University has helped him adapt a new style and find a niche in nude sketching. His first muse was an Instagram fashion model by the name of Thickleeyonce.
“My first nude sketch was of a South African model called Thickleeyonce, a famous model on instagram, and that artwork set grounds for my style.”
His inspiration has leaned more towards the feminine body as a medium, using his Art history knowledge in feminism to empower women to embrace their authenticity to the fullest, from their skin to their hair. Since the first sketch, Kamvelihle has explored even more explicit anatomic references like ballet dance poses where attention is focused more on the subjects pose than the individual to be more relatable to those seeking a sense of affinity in his bodily
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2022©
Photographed by Nape
“Since I got the validation that I am a good artist, my focus is more on building my name [first] rather than selling artworks or doing commissons.” Mpahlele.
“As a self-taught artist, I always challenge myself in each artwork to push the barrier and do even better than the one i did before. So in most cases I am my very own source of inspiration as well as critic.”
With the passion and talent Kamvelihle has, his vision for his art has made room in the physical world to ensure his success.
“I am easily distracted and it becomes frustrating once there are many people around me. That increases my chances of making errors or working
Kamvelihleslow.”
“Since I got the validation that I am a good artist, my focus is more on building my name [first] rather than selling artworks or doing commissons.”
It’s something to note that, Kamvelihle has become somewhat of a multi-disciplinarian, getting into graphic design andstarting a sidehustle selling graphic tees and tote bags. What’s next for Kamvelihle is shifting towards creating a series of art pieces that are connected by one concept and on a much larger scale compared to the one he has been accustomed to.
has had the privilege of showing his work at Makhanda’s (previously Grahamstown) renowned National Art Festival back in 2017 where he sold his first ever art piece. Not only did the opportunity provide him with the capital to invest in his craft and expand on his skills, but it also offered some validation of his gift and gave him the confidence to be more strategic in his approach to art.
Though Kamvelihle takes inspiration from Cape Town based hyperrealism pencil artist Jono Dry, what has accelerated his personal growth as an artist is his self-criticism and the drive to create works that are better than his previous ones.
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Photographed by Nape Mpahlele.
2022© @wondersbeautiful
Of course the environment in which any artist creates in has some impact (big or small) on their process and final output. For him to get the best out himself in the moment of working, Kamvelihle prefers being isolated and enjoying the company of jazz, soul music, RnB, and podcasts.
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14 aesthetikselektor September 2022 ©2022Tsele.TumakgolebyPhotographed BORN TO MAKE HISTORY BORN TO MAKE HISTORY BORN TO MAKE HISTORY
Born to Make History stands for the future, ‘the free form’, which speaks to the independence of young people. We inspire through our clothing, producing quality apparel that sparks immediate self-confidence. Known for our signature bucket hats in addition to our other essential wardrobe pieces, BMTH tells stories through various collaborations with local creatives. We create an inclusive environment where we can come together to freely express our creativity through our different forms of art. It’s style with substance.
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Photographed by Ndiphiwe Kwakweni.
More than just a clothing brand
2020 © @btmh_20
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All of our life’s pursuits require a great deal of self awareness and attitude. We begin to understand ourselves more as we take charge of our own reality. With that comes an unshakable sense of self-belief and an understanding that we are capable of anything we apply our efforts into.
Confidence, can be drawn from within if we allow ourselves to float a little, getting pushed and pulled into different avenues of growth. Sakhile Simelane carries this very same poise to herself when it comes to her modeling and it radiates in anything she is involved in. Her powerful energy and incredible versatility take up space and compel one to want a closer look.
The value of confidence and authenticity in the art of modeling
By Chakaza Dlamini
Sakhile Simelane
“I think I’m just really comfortable with myself and that gives me so much joy and confidence. It probably translates on the outside too, then just like that, I stand out.”
Sakhile Simelane began modeling in 2016 as if answering a calling to a purpose she would only realise a bit later through the impact of her work. Her willingness to entertain different ideas, working with various talented creatives, has granted her a greater understanding of her own style, ensuring authenticity in her work.
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Photographed by Lenscope
She emulates a free spirited yet calculated play on feminine and masculine clothing items, which brings out her unique look. Whilst the ambiguity of it all feeds into her versatility and creates greater chances to be relatable to a wider audience, It is a style that is true to her and also serves as a source for her unwavering confidence.
“I love and feel most confident when I’m wearing any androgynous outfits. It just makes me feel… very sexy.”
©2020Lenscope.byPhotographed
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©2020Brown.WillbyPhotographed
“In my mind, the term translates as someting legendary that I have committed my efforts to. Something that I’ll leave behind for future generations to inherit or to be inspired by... and I hope I do leave one hell of a legacy when I’m gone.”
LEGACY
Future PioneersVOL. 5 SPRING ISSUE Immortalizing Great Taste
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“Everything and anything on earth, from giant size to ant size, inspires me. I could see a piece of art and think of a concept, or I could see a house and think of how fire a certain outfit would look beside it.”
“The most positive responses I’ve received are more photographers wanting to work with me, including international photographers which I haven’t had the chance to to shoot with due to timing, but I think that’s one of the biggest nods.”
Sakhile Simelane is a clear indication of the power of selfbelief and her confidence has surely been a great inspiration to others in her nearly seven years of experience. Mix that in with real dedication and an incredible work ethic, and the journey will all be yours to control. There’s no telling what rabbit she’ll pull from her sleeve next and we are here for all the tricks!
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“I wasn’t really working much, just like most people. I did have one shoot that I remember though, with Lenscope, in my backyard, where I wore the Bob wig and the black silk outfit. That shoot was so sick, if I do say so myself.”
Other@will.brownphotos by
Throughout all the dream chasing and hard work, Sakhile gives equal significance to making time to rest and reset, honoring her mind, body and soul for doing the work by relaxing and trusting the process. During the COVID-19 pandemic, it was this same mentality that kept Sakhile focused and calm.
Sakhile boasts an incredible portfolio which has only gotten better through the nourishment of her skills as her audience engages with her work.
“The environment really doesn’t matter much, I’m quite adaptive, so it’s really not a problem where we are. What I need, is good creative energy and vibes. As long as we all feel good, the work will be murderous.”
2020© @lenscope_lsp
Cover photographed by Will Brown. 2020© Lenscope.
With goals and aspirations that tap into reaching her full potential, Sakhile looks up to icons in the modeling industry such as Noami Campbell, Duckies Thot, Aleck Wek and Adult Atech. A combination of inspiration and perfect timing, Sakhile has managed to work in different environments with phenomenal photographers like Will Brown, Shaun De Sousa and Lenscope to name a few.
“I don’t even see myself, that’s how far off fro here I will be. Amen.”
When asked about where she sees herself in the future, she responded in true Sakhile fashion, offering a potent summary of her confidence.
©2020Brown.WillbyPhotographed
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Photographed by Lenscope. 2020 ©
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interconnectivity
iThemba Art Studios 28 Plein Street, Johannesburg, South Africa Asisebenze Art Atelier
“Within the layering of Themba Shabalala’s work liesa deep engagement with experiencing the present moment of life. There also exists an understanding of the interconnectedness of all things. His is evident in works such as ‘Layers of self’ which is an interrogation of the of life.”
Son &WoodofFire
Feature article
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By Nolan Stevens
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Themba Shabalala
@chamaeleonq
There’s a saying that goes, “argue for your limitations and you’ll get them.” There is no place for such words in the creative world of, Themba Shabalala, however. Having trained as a print maker at Johannesburg’s Artist Proof Studios (APS), an institution dedicated to the meticulous craft of the print-making medium, one would assume that the precision of editioned work akin to the medium would define him. Instead, his is a creativity which bucks the norm, pushes against the grain and quite literally burns down expectations.
Drawing with fire, denaturing surfaces to the point where unevenness and roughness is the goal, all seem counterproductive for someone whose art education should have instilled a sensibility of creating artworks which can be replicated. Shabala’s creations instead exist somewhere inbetween the unpredictable and unsafe. Whether he is relief sculpting into surfaces; denaturing them from flat sub straight to textured surface or in the use of his pyrography (markmaking with fire), there is a sense that his process is a means of grappling with trauma. Shabalala was in an accident which left his right eye blinded in 2013, but rather than allowing this limitation to dictate how he navigates the visual arts industry, Shabalala has created his own rules with which he operates. Rather than allow the challenge of creating pyrographical works with one eye stnt the growth of his creative process, Shabalala uses his unique perspective present his world in an atypical and nuanced manner.
Deconstruction and construction coexist, working simultaneously in the work he creates. The fire on wood works are a clear commentary on the cohabitation of perfection within imperfection. This he achieves through physically transforming the expected smoothness of surfaces by texturising it, in order to create tension. It is the same tension he brings to the themes of self-discovery and cyclic existence which he explores. Within the layering of Shabalala’s work, lies a deep engagement with experiencing the present moment of life. There also exists an understanding of the interconnectedness of all things. His is evident in works such as Layers of self which is an interrogation of the interconnectivity of life; in this case, that of himself, his partner and their son. In this tryptic we are confronted by the portrait of a woman, another of a child and an image of the two together. With deeper consideration these figurative works transform beyond mere representation and begin to allude to a spiritual transformation of one’s self through to the next generation.
Feature
Photographed by Qaphile Langa. 2022©
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Photographed by Qaphile Langa. 2020 ©
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Even though, Themba Shabalala’s works, at first glance appear to revolve solely around the physicality of his artistic process, conceptually his works argue against the limitation of this physical form and opt instead to soar without any bounds.
“What would your reaction be coming across one of your pieces after ten years? Would you want to recollect it? Would you buy it at that value as the artist?”
This idea of cyclic existence is expanded upon in other works as well, which make use of rusted, and or painted bicycle wheels. These make reference to the endless cycle of life as well as the resurgence and passing on of knowledge and wisdom from generatio to generation.
The truth in these lines is something which many creators do poorly in realizing. For one, you are almost powerless in controling the reaction of others, and as the primary consumer of your own work, it is yourself you have to please first. It is quite a disservice to approach your work with aim of pleasing people whose responses you cannot always accurately predict. This also puts you at risk of losing yourself, getting pushed around by public opinion.
Of course art demands an audience and feedback is still valuable to Themba. However, art is an expression that comes from within and one draws from their own experiences and mindset when creating.
By Qaphile Langa
“How they [audience] receive it... it’s not my concern. Because I’m dealing with myself when I create. You are dealing with yourself when you create.”
“Why would you sell an artwork that you yourself don’t love?
Perhaps one of the most thought provoking question I have ever been asked, and a true testament to Themba’s introspective nature and approach to his work. As artists, we tend to have a love-hate relationship with our creations (what with being our own biggest critics and all) and it is rather interesting to think about how an artwork matures, seeing the value of it appreciate or depreciate.
As Shabalala continues to probe, I find myself feeling like the one being interviewed, pondering deeply about such a simple concept that I had never even concerned myself with as an artist. The realization hits me soon enough that he is thinking out loud and, in fact, this is a reflection of his deep and personal relationship with his own work.
©2020Langa.QaphilebyPhotographed
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Photographed by Qaphile Langa. 2020 ©
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By Chakaza LongDlaminiTravels
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Lately, I’ve been deeply interested with the idea of motion. It is more than a physical motor act and I wanted to portray that with my art pieces. I can remember looking at ‘Long Travels’ and feeling as though that art piece was moving… but moving perfectly still with everything in the same place. So I guess it’s safe to say that there is movement in stillness and progress can’t always be measured tangibly. Maybe if we began to see movement as something that is present in every act, within everything everywhere… maybe then even the smallest motion in progress will be given it’s deserved appreciation. I wanted my art to represent this same notion in motion, to get the mind to perceive movement and stillness as the same thing. As we pioneer our own future and paint our own destiny, we ought to give enough praise to all, and I mean all, the moves we make. The wins, the losses, the lessons and the stagnation all speak… to the power and gift of dreaming big.
Opinion
Motion progressin
Paintings by Chaka Dlamini. 2022©
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“I like strange, distinct features. I’m drawn to asymmetry and disorder. I want to push my art into surreal realms, where humans, animals, technology, and the environment are meshed together to create something new.”
Liam Jordan Wright Surrealist and conceptual photographer Makhanda, South Africa
Photographed by Liam Wright. 2022 ©
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things I enjoy the most about my photoshoots is the physical aspect of making them work; whether that be a lighting challenge, effects to make a scene look old and dusty, or lighting cotton balls on fire to give the illusion of fireballs. I want to push these special effects further.”
Photography is a rather saturated artform, and with the advancements in technology and various editing software, even the art of surrealism is brewing in competition. The best of them have a deeper understanding of their craft and an incredible selfreliance in their own hands. That’s Liam.
By Kgosietsile Lebhuru
community.”theI’velikerewarding.thatphotoshootmuchmoreIfeelthisishowinnovatedinphotographic
Liam’s curiosity for photography started at a young age, using nothing but a cellphone to assist in his development. It was in his gap year, 2017, after matric where he got his first camera (Nikon, D3300 DSLR). Through this camera, which he still uses to this day, Liam’s style has evolved into a more stylized and narrative context, adding to his concept of creating his own
Enter The Abyss
“I may sound like an old codger when I say this, but the effort of creating physical special effects makes the
“Ever since [I was] a young kid, I’ve always been interested in photography. It’s hard for me to say what my first ever device was, however, I can say that I started taking photography more seriously in Grade 12 when I got a phone with a decent camera”
“Oneworld.ofthe
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The aesthetikselektor family was introduced to Liam and his surrealist work in the second volume released in September 2021. His striking imagery and knack for organically curated environments and special effects were far too intriguing to pass up in an issue about masters and pioneers of their craft. Liam’s ability to create a surreal realm of places we’ve never visited but are portrayed so vividly that he’s able to affect the emotions of his audience prompted us to get insight on his origin and drive behind his photography.
Liam Wright
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Photographed by Liam Wright. 2022 ©
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Photographed by Liam Wright. 2022 ©
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Photographed by Liam Wright. 2022 ©
etiqutte is a construct
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By Jay Callahan
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Strange Pathways
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Jay Callahan
Artist. @strange_pathways
“All art is, to some degree, a reflection of the artist. Just their decision to draw a certain subject reveals a lot about them. I choose to draw draw monsters because I have seen some up close and personal. Putting them on paper is a form of excorcisim for me.”
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“I think of what others will be able to see or remember from when you were alive and how that will make them Ifeel.hope my art will inspire people to think more deeply about the world they live in.”
- Jay Callahan
What does legacy mean to you in the space of art?
September 2022 aesthetikselektor 51 Future PioneersVOL. 5 SPRING ISSUE Immortalizing Great Taste
Futures gone to increase the stake Marching errant gods we shape Mores merely sting not slake Cruxes lie in clever wait
I would like to be remembered as a purveyor of the strange and chaotic, and as someone who is no longer afraid of the demons I depict.”
Burning blue and mellow hues Mocking dashing puppets dance Damaged damses making news Bastard men who fade to black
“State Run Television”
Music, the work of other artists, and history serve as my source of inspiration. I like to incorporate historic places, events, or people as well as mythic elements into my art to help build a mini mythos behind each work.
“I would describe my work as if you were to look at a dream through a kaleidoscope. I started using symmetry because the patterns one image can make when reflected lead to unexpectedly striking images.
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Truth untold and sadder still Traumas passed like faulty genes Serving selfly succors swill War declared with uncouth glee
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By Qaphile Langa
Cash 4 Scraps
Opinion
Everyone has a different idea of what the world’s biggest problem is, so nothing is ever truly resolved. Of course many of the issues we face cannot be solved overnight, or even in the short course of a year. But think about how long we have known about global warming, world hunger, issues of race and gender inequality, class struggles, and even the war on drugs. I can’t even begin to bring up any statistics about the progress (or lack thereof) made on the plethora of issues, but one need only walk outside or go online to see that it is still another Tuesday. The turmoil persists.
Let me begin by saying that I offer no solutions, only crude and mainly subjective observations. I’ve thought long about why things don’t get done and I keep coming back to contextual differences in human society. There are over 7 billion people on planet earth, all living and experiencing different conditions. Context has a heavy impact on our priorities and what each individual thinks is the biggest problem in the world.
Photographed by Qaphile Langa. 2020 ©
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The power of a R100 note continues to be challenged as Inflation soars. Rent, food, and petrol prices are going up much faster than the minimum wage, and the middle class is dwindling before our very eyes. There’s an app built specifically for the Load shedding schedule, which to me speaks volumes about the longevity of this temporary solution. Yet we have R22 million to spare on a flag (did I mention it glows in the dark?). The unemployment rate and crime is up. We still have over two hundred thousand people living in the streets. The KwaZulu-Natal province is still in recovery and in need of much assistance after the recent floods, but we have some spare change for a flag or philharmonic orchestra. As terrible as things are, financially, the government intends to introduce more taxes to aid SABC and also Eskom. There’s clearly an inconsistency in what we deem top priority as a nation.
2022© @chamaeleonq VOL. 5 SPRING ISSUE
Photographed by Qaphile Langa.
“On some days I was inspired by the tenacity of the hustlers clocking in as early as 4AM, but I would be reminded of the harsh reality of having to work to a pulp just to survive out here”
The South African government (Department of Arts, Culture & Sports) close to signing off on a R22 million flag that, apparently, would glow in the dark. The motion was halted by the president in response to public outrage, and a take away from this is that our priorities as a so-called republic are not the same. Granted, the arts department isn’t particularly inclined to solve issues like load shedding, homelessness, or healthcare, but the flag initiative is a slap in the face of the poverty stricken nation. Those in power have long since lost touch with the needs of the greater population.
I moved to Johannesburg back in 2017, with a certain naivety in my expectations of city life. The land of milk and honey had to come with some sophistication, right? Instead I was greeted with noise cholesterol, raw sewage, and later, a gun to my chest. Desperation, infused with the many smells of the city, plagued the thick air. Everyone seemed to be in quite the rush, and I don’t believe I ever saw the same face twice in the buzzing streets. On some days I was inspired by the tenacity of the hustlers clocking in as early as 4AM, but I would be reminded of the harsh reality of having to work to a pulp just to survive out here. No milk, no honey; only a concrete jungle as cold and rough as the phrase suggests. Suffice to say that the immediate issue here is poverty. And although R22 million might not eradicate the struggle completely, it is rather infuriating to think (on an empty stomach and swollen feet in a candlelit room) that the government would rather use that money on a flashy flag.
As I mentioned before, with all my criticism in the limited space that I am granted, I offer no solutions. Perhaps my mission is to bring awareness to those living outside of this particular perspective, in an effort to unify us all in the fight against poverty. As a photographer, I hope my work speaks for itself and really breathes life into my observations, if not for archival reasons, then for the sake of echoing the cries of a divided republic.
Photographed by Qaphile Langa. 2020 ©
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Photographed by Qaphile Langa. 2020 ©
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Photographed by Qaphile Langa. 2020 ©
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Immortalizing Great Taste
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