Ke LEFA LAKA : HER-STORY

  • Habo Patience ka bokhathe II

  • Ka mose wa malomo kwana 44 II

  • 3-phisi yaka ya letlalo II

  • Ke tsamaya masiu II

  • Ke eme ka diaparo tsa sekolo II

  • Ka 2-phisi yaka e pinky II

  • Kwana borayeng Phadima II

  • Moketeng wa letsatsi la tswalo la motswalle II

  • Ke monahano ke ntse ke le pating II

  • Moketeng wa letsatsi la tswalo la ho qala la moradi waka II

  • Re tantshetsa phaposing ya sekolo II

  • Ke dutse pela dipalesa II

  • Tshimong ka hara toropo II

  • Ke le motle ka bulumase le bodisi II

  • Ke bapala seyalemoya bosiu ka naeterese II

  • Re shapa setepe sa lenyalo II

  • Setshwantso le ngwanaka II

  • Setupung sa kwana hae II

Ke LEFA LAKA : HER-STORY

Portrait, Daily Life, Fine Art
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Like a presence that isn\u2019t, of which Roland Barthes speaks about in his book \u2018Camera Lucida\u2019 in which he explores \u201cvarious 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\u201d. (Barthes, 1981, 96)\r<\/p><p>My reconnection with her became a visual manipulation of \u2018her-our\u2019 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 \u2018present version of her\u2019 - me, to reconstruct a new story and a commonality \u2013 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.<\/p>","body_raw":"The idea of \u2018the ghost\u2019 started to emerge in my work. Like a presence that isn\u2019t, of which Roland Barthes speaks about in his book \u2018Camera Lucida\u2019 in which he explores \u201cvarious 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\u201d. (Barthes, 1981, 96)\r\n\r\nMy reconnection with her became a visual manipulation of \u2018her-our\u2019 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 \u2018present version of her\u2019 - me, to reconstruct a new story and a commonality \u2013 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. 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