By Lebohang Kganye

The idea of ‘the ghost’ started to emerge in my work. Like a presence that isn’t, of which Roland Barthes speaks about in his book Camera Lucida that explores “various photographs from his family album as he searches for a likeness that can begin to represent his feelings for and memory of his mother, who had recently died”. (Barthes, 1981, 96)

My re-connection with her became a visual manipulation of ‘her-our’ histories. I began inserting myself into her pictorial narrative by emulating these snaps of her from my family album. I would dress in the exact clothes that she was wearing in these thirty-year-old photographs and mimic the same poses. This was my way of marrying the two memories (mine and of my mother). I later developed digital photomontages where I juxtaposed old photographs of my mother retrieved from the family archives with photographs of a ‘present version of her’ - me, to reconstruct a new story and a commonality – she is me, I am her and there remains in this commonality so much difference, and so much distance in space and time.

I realised that I was scared that I was beginning to forget what my mother looked like, what she sounded like, and her defining gestures. The photomontages became a substitute for the paucity of memory, a forged identification and imagined conversation.