Chaotic CBD

Wesley Pepper sits down with Zolile Petshane, a visual artist who works mostly in oil pastels and mixed media. They discuss his upcoming exhibition at Lizamore & Associates fine art gallery. Art lexical is a podcast where we talk art and art processes.

Transcript

Wesley Pepper: [00:00:00] Hey everybody, this is wesley pepper and you are tuned in to my podcast. Wesley Pepper’s Art Lexica, and it's brought to you by Spudcaster. And Baobulb, uh, we are into episode 46. Um, I normally. Just forget to mention what episode we in, you know, but I'm always aware what episode I was recording. So we're close to that number 50 Mark man.

[00:00:33] And that gets me really excited because I'm like, I may say in the episodes I wanted to do a give away and now it's getting more and more like a reality. Uh, but I'll keep you up to speed with that, especially on my social media. And you can always check me out on Facebook @wesleypepper. Twitter @wesleypepper and, and, and, or Instagram, or even LinkedIn at say by the same name, Wesley pepper, but so you can give me, uh, you can catch me, um, or either find out what else has been coming, um, or coming.

[00:01:02] And what's happening on the show on those, on those handles. Um, yeah, man, moving on, let's talk about, uh, or rather last week's episode, with Dipou from Obtain art gallery for coming through. Um, You know, remember we spoke about, um, that group show that they were doing. And, um, one thing that always that's sitting in my mind from episode was the whole virtual gallery space.

[00:01:26] That's something I'm definitely going to be keeping an eye on. And, um, yeah, most definitely will follow up on that. Absolutely. For sure. Because yeah, I mean, as you know, we try to, um, focus a lot on how arts is adapting. To technology, um, how we're using it, um, and all that type of thing.

[00:01:45] And I think that's super cool. So that's something really cool to look forward to, uh, today's episode. Um, I've got somebody really, um, I think, um, quite large, um, you know, well, you know, we'll break up how I, what I mean in that in the interview, but today I'll be talking to Zolile Petshane. Um, Mostly about his, um, solo show coming up on the 4th of April Lizamore & Associates fine art gallery, um, title, chaotic CBD, uh, you know, like I would classify zolile as a abstract artist, you know?

[00:02:23] Um, cause he does this really fantastic, interesting conceptual work. Um, and he uses it in a more mixed medium, but I know it's more oil pastel based. Um, and if you're really familiar with the medium oil pastel actually has a very, uh, I think it's, um, you know, it's greens and, and reds got a, got a very specific look and feel, um, colour I'm talking colour and, um, and texture.

[00:02:44] And I know Zolile as an absolute master of that because. Um, I'm quite familiar. I mean, um, I mean, I know personally for the longest time, but, um, I'm also quite familiar with this technique and I know you started off a many many years ago when APS needed those monoprints. So, um, we’re kind of going to track that, uh, the history of his process and how it's led up to that because oil has been making some massive moves and big up brother to that.

[00:03:07] Um, so we would be unpacking all of that. Um, and his show, his processes and how he feels about covid because, um, yeah, man, it's. The politics that aren't, this vaccine is becoming more and more political and I'm, I'm, I'm getting some wild fucking stories around it. So if this time I, you know, I'm going to pick his brain about that, but we can be focusing more on his work.

[00:03:31] And, um, yeah, man. So big up to all the new listeners, um, new and old. Um, I know you out there, um, I know you were listening in, I know you enjoying what you're listening and that's. Fucking great. That's awesome. Thank you for that. Uh, you know, in the past episodes, I was, I was sort of giving you a, um, or rather voicing my opinion about the NAC sitting.

[00:03:55] Well, as of the recording of this episode, they are still sitting in, um, and the story this has been growing and growing and growing, uh, once again, I pledged my solidarity to what they are doing there. I absolutely, uh, stand with them in it. In the, um, in their plight, uh, because to be there so long, um, jislaaikit, man, I don't know how you do it.

[00:04:14] So, um, and from where I'm sitting in for what I'm following, um, I don't know what the end result is going to be. Um, right now it's not looking very good, but. Yeah, man. I can't be for vein, you know, uh, in previous episodes I was voicing my critique on the, uh, strategy, you know, and like waiting for government.

[00:04:36] I'm still with that. Um, and maybe, maybe we'll see if Zolile, um, has something to say about that, but yeah, man, um, I'll be catching you or telling yous about what's happening in future episodes in the outro. So look forward to that. Now, hope you guys enjoyed today's episode and stay tuned for that.

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[00:05:20] Wesley Pepper: [00:05:20] Um, alright man, how you doing? My brother? Zolile Petshane: No, I’m good and you? Wesley Pepper: Um, um, well that depends, but mostly I’m okay. Um, yeah, man, um, in my, um, in my intro, And I, um, I, um, I kind of describe you as a, uh, abstract or rather your work as being abstract personally. I think the word, uh, that that's a bit of a loose term so I kind of want to just hold on. Um, so I kind of want us to, um, sort of explore your technique.

[00:05:53] You know, um, your body of, um, your, um, your show that starting on the, um, starting in April on the 10th, I think. Um, and, um, yeah, we'll sort of, you know, unpack your entire story, um, you know, but by, but then focus on your processes and your technique and, um, you know, what does it mean? And, um, rather your show and the idea behind the show and all that.

[00:06:18] So, um, but before we get into that, but, but, but, um, you started off as a visual as a printmaker, right? Um, just give my listeners just like a, just a very brief on who Zolile petshane is. Where's he from? Where did you study and how did you get into the arts and that type of thing?

[00:06:50] Zolile Petshane: [00:06:50] uh, I was born and brought up in a local primary school and a local high school. And then later I went to Vaka where I did my, uh, my art, where I did art history painting as a subject, not as an extra mural activity. And then later I joined APS studied with APS, uh, practice printmaking for what, seven years, and then later

[00:07:22] through WITS where I did my advanced diploma in fine art. And after that. Um, yeah, I never, um, yeah, I basically moved from printmaking to painting and painting for, for very long time. Now I think it's more than more than 15 years now. Wesley Pepper: Yeah. Actually, I actually want to unpack that one there because I know you started hello.

[00:07:53] Oh, sorry. It just went really quiet. Sorry about that. Um, yeah, I might actually, I wanna, I wanna unpack that, um, your, your process in particular. So, um, I remember you did, uh, um, you didn't, you did a solo show years ago, um, in Braamfontein, I think it was unity gallery where you did, um, Um, if my memory serves me, this was a long time ago, man, but you did it in etching, but it was more graphic based.

[00:08:19] So I sort of like know your technique from, from, from there. And I know back then you also doing a lot of those monoprints and if I must look it. Um, because I was looking through the catalog, um, if I must look good from a technical point of view, right. Um, your technique, those monoprints that you used to do at APS.

[00:08:36] So this was what, early two thousands, but you'll correct me there. Um, you know, um, I really see, like, you've really become or, uh, you really mastered that and that's like over 20 years. So, um, tell us, how did you get into the technique? You know, what, um, why did you, why. Or rather because, um, because, because this style of work, um, you either can do it or you can’t, you know?

[00:09:01] Um, um, so, you know, yeah, yeah, yeah. Um, you went away there for whatever, just yeah, yeah,

[00:09:15] yeah. It happens. Um, yeah. And, you know, I complain about, and such a lot in this podcast, you won't believe, man. Um, anyway, um, did you get my last question, uh, as I was asking you about like your technique and sort of way, um, can you explain to the listeners, like where did it start or from, and that whole direction of what I'll sort of unpack it, but like we had started off and like, what was it that pulled you towards, um, um, Um, abstract.

[00:09:51] Zolile Petshane: Um, when I started off doing abstract, it was more like an experimental with printmaking where I would use anything that I find interesting. Like the orange, uh, mesh sacks or bags. Yeah.

[00:10:14] Yeah. You say this and people think you’re saying something else.

[00:10:21] but I would use the orange bags to play around with the, with that texture. How do use different material printers material and to create an artwork. So I I've never used your traditional copper plates, uh, now, um, steel plates to etch and print. So I’d use the, um, the Monotype monoprint make mono print. As an approach to what I wanted to create at the time, because anything that I find interesting I’d use that.

[00:10:56] Um, so that's how I. Ventured towards the direction of painting. And then I started mixing print oil pastel with, uh, with monotypes and then eventually that grew into painting and then the printmaking. Yeah, it faded away. So I don't do pretty much if I do a print, it's just that I needed to take a break from painting and just do something completely different.

[00:11:28] So, yeah, that's how I went. That that's how that direction to a painting, moved. Um, so I’m more like a DJ that introducing introduces a different sound. Uh, while you play a vinyl A Uh, and they get to vinyl B, but you don't want to bring vinyl B like in your face, but you just. Just, just bring it just a slide.

[00:11:56] So that's how I moved to painting. Um, so I just, Wesley Pepper: yeah, sorry, continue. Zolile Petshane: And then speaking of the show that I did with unity gallery, um, those were actually the body of work that I produced and printed at APS

[00:12:15] Yes. And then I contributed that. Um, cause at the time I wanted to showcase what I've been doing and what I've been producing. And that is, let me, let me show case what I've done. Uh, uh, uh, put together that is there, the etching Schuler lift and, and line etching, um, points those, all those were the works that I did at that time.

[00:12:43] I still have some old, those works. Wesley Pepper: Hmm. Um, yeah, but, uh, yeah,

[00:12:53] yeah, no, I, I, you, uh, our, to just ask with technical thing on those lines, because I can actually remember some of the images, uh, and, um, um, it was you looking at your, uh, face on like a spoon and all these types of objects. Um, Funny enough. Uh, this is a bit of insight into, and to why I remember it because I, myself, at that time I was starting a graphic sort of, um, you know, I was starting a drawing project, which eventually became, you know, my publishing company.

[00:13:24] And like, I was really, I, um, I saw that graphic type style work. Do you still use that technique, um, of drawing, um, of, um, of line work because looking at your current work? You know? Zolile Petshane: Yeah, I do. I still do that, but now what I do is I use a graphite pencil now add, so that's what I use. I use the etching, which in the works. Speaking of the work,

[00:14:01] um, there, the, the wax, how it came about, just moved out from the house that we rented, me and my friends. And then when, while I was in that room, that I rented out I was still trying to feel what is next. And then eventually I just look at this spoon and I saw my portrait. And I thought it would be interesting using a spoon as a mirror. Um,

[00:14:29] Wesley Pepper: Um, yeah, it does actually quite, uh, quite an interesting, um, I like to start,

[00:14:48] I was going to ask you another technical thing. Um, more based on, um, you calling them paintings. Um, I find that, um, like the definition quite interesting. So explain to me because, um, this is from me just looking at them, right. Not knowing or understanding the processes and I'm talking about the current body of work, the, um, chaotic CBD, um, because I guess I know you, uh, Uh, uh, work with pastels.

[00:15:13] So I guess my eye is used to, um, just, I was assuming that they, you know, that the whole thing is well pastels because I know, well, pastels has a very specific texture to it and, and, and, and, um, and the colours are, are very specific. So for the listeners, for my listeners, um, just explain to me. Um, because this body work, um, the majority colour there is white as well, because I know in, in, in, in, in previous work you made reference to the ones, um, those, those texture bottle printers used to do.

[00:15:43] Um, actually I recall that as well. Um, they will, they will, they were very rich in colour. Um, and I guess that's one of the things that really draws one up is one, um, or otherwise I can still recall them so well, like the colour was very rich, Zolile Petshane: sorry. You're breaking. Can you repeat the question?

[00:16:05] the challenge I have here. let me go inside and see if I can go back to the kitchen. Wesley Pepper: Yeah, yeah. Let's try that. Zolile Petshane: Can you hear me now? Wesley Pepper: I can. I can, I can hear you. Okay. That's actually a little bit better. Um, and it's not that noisy either. Hello. So, yeah, we're having a bit of a technical issue. There's a bit of a breakdown agh there’s abit of delay in the line and yeah, I say, well, shit, man, same old shit.

[00:16:36] Um, but just for us, just to repeat the question, I was, um, I was, uh, uh, um, just before the break or before the, um, before the break was that, um, um, I was.. Zolile, you can still hear me right. All right. So, uh, yeah, I was making a reference to, uh, a technical question, um, on your previous work, um, on the, on the painting.

[00:17:03] So if I recall, um, your work from like the early two thousands, they were very rich in colour. They add a lot of 'em as well. They were just really rich. Um, I remember a lot of yellow and orange and so on and so on and so on. Uh, and it added really, it was very eye catching and now, um, Uh, the majority is a very light grey sort of, um, uh, white.

[00:17:29] So, um, I know with abstract paintings, um, that how you mix the colours and how you use your colours is very important. So I find, I guess, like, just for the listeners, um, just explain to us your, uh, processes behind, um, creating chaotic, CBD, um, with specific reference to the use of colour. Zolile Petshane: With with, with this current issue, um, was exploring the idea and the concept of migration, where people move from one area to the other area in search of your greener pastures and use colours as a representation of that.

[00:18:12] Um, I would use a colour as a representation of people. Of different, uh, nationalities moving in one area and yeah, and, and, and some, sometimes some people that are moved into that I would create a area where it represent, um, the idea of being a endangered species. But I I'll try to find an element that says that, but I.

[00:18:45] I normally use, um, calculation and using my mathematics that is not a, yeah. I don't know if that the proper mathematician will actually agree with that, but what I make things and trying to, uh, play around with the idea or miscalculating. When you think that you have calculated well and things, when you get to the answer, aish it’s not what you thought the answer is a problem.

[00:19:17] So I use colour as a representation or as a language to say something. Um, I used to bring out life, you know, uh, despite the effect that you move to a city aish your life is a mess. Now colour brings out happiness. Colour brings out life. it’s a different season, um, yeah. A different time that we need to. Yeah, forget about that.

[00:19:50] the winter season now we on this. Everything has to be vibing. So I, I use such a approach in terms of that colour, even though my works, um, I've never done any black and white painting to the represent that season or winter. Uh, most of the time, these. Wesley Pepper: Hmm. Interesting. Interesting, interesting. Um, another technical question, my brother, based off the, uh, body of work.

[00:20:25] Um, are you using any symbols? Um, well you are using but like, um, what are some of the main, because you've got the, um, the body work is quite substantial and they are, and they vary. Um, I see a lot of, um, Um, I would say splash like marks. Um, I see a lot of detail to some buildings and, um, there's some really interesting, uh, um, um, real fine details, which are, which personally I think is actually quite beautiful.

[00:20:53] So I guess my question is meant like, um, what does some of these symbols mean? Do some of them have meaning? If so, what? And so on. Zolile Petshane: Well, one of the works I used the pipe that we normally get on the side of the road in, especially in industrial side, um, that the pipe is normally is when there’s a fire, the fire brigades, this that I see that I'll use that to access water. I would use the pyramid.

[00:21:22] Um, sometimes in mathematics, there is that sign that looks like a pyramid. Now, there was a time when I started, when I started exploring the concept of numbers, I'll use the pyramid, um, to represent that, uh, I would use the concrete lip, um, to represent a numbering. Cause I don't normally use a lot of numbers in my work sometimes.

[00:21:49] I use elements that represent, uh, numbers. Now remember everything that we see around us, uh, the influence of calculation that's of mathematics tells the engineers to tell you that this slab is in, uh, it can last two for more than 20 years. So I would use numbers. Use some of the elements as a representation of numbers or something that revolves around numbers. So I’d use that.

[00:22:27] Wesley Pepper: Hmm. Interesting. Interesting, interesting. Um, alright man. So I guess for me, that sort of covers the technical side, right? Um, just a question on your process. So, um, how do you, uh, I guess I should ask this or wait um, before we get to the process, let me first take you a step back to the concept, uh, because I guess once we understand the concept and we can add up, we explain how to interpret, interpreted, because, um, so, um, from what I can understand that, um, through the brief and like through looking at the artwork and listening to you speak now, uh, you have a very critical, uh, or other viewpoint on what's happening in the, sort of the, of the social political, um, framework what's happening inside the...