Artists We Love: Katlego Tlabela

WORDS Palesa Kgasane IMAGES courtesy of Katlego Tlabela

Self-taught multimedia artist Katlego Tlabela’s penchant for storytelling sees him alternating between various mediums, all with the unifying factors of vivid colour and a reflection on the human condition. 

The Pretoria-born artist, who is reluctant to place himself in a box when it comes to describing his style of work, has crafted his artistic journey via the exploration of the past and the present, honing in on South Africa’s complex history and representation of the black body.

In addition to his ability to bring across the subject of his art to the often-times saturated bubble created by social media, Katlego uses his talent and experience to enhance the lives of students who have the same aspirations he once had. VISI spoke to him to find out more about his journey. 

What was the first encounter you had with art that made you realise that you wanted to be an artist?

I was actually asked this during a conversation the other day. My earliest memories are from childhood. My uncle used to make these funny big-headed caricatures in his school books and on walls. As children, when visiting grandparents in Limpopo, my cousins and I would also draw cities and roads in the sand and use broken or discarded bricks as toy cars.

My decision to be an artist only came later in high school when I took art more seriously and after seeing its financial benefits. Back then, I would draw on people’s bags or book covers for lunch money or whatever I needed at the time. 

You seem to be drawn to vivid colours now compared to your earlier work. How did this change come about?

I worked in colour from childhood to high school, particularly in oil pastels. The transition from high school to tertiary changed that, partly because oil pastel was not considered a strong medium (it’s making a comeback now). It was more recognised and preferred for preparatory sketches and studies. My choice to major in printmaking also influenced my monochromatic work. My return to colour was solely based on a desire for creative liberation and rekindling with my younger self.

What would you say is your biggest inspiration when choosing your subject matter for each of your works?

Instagram. I am always taking screenshots as visual research for future paintings. It’s actually ridiculous. Apart from that, my imagination, lived experiences, music and books help with my research.

Many contemporary artists of colour seek to reflect the times, socially, politically and so on: what is your opinion on this notion and how it affects what you create?

To be honest, to each their own. My only advice for this is not to be a martyr. This is based on personal experiences. You can only give so much of yourself – being too involved in social and political art can take a huge toll on your practice and self, mentally and emotionally.  I have a political influence from my upbringing and my work has spoken on a range of topics, but I can admit that I lost a part of myself within the process.

Your artworks have been exhibited beyond the borders of South Africa. How have those international experiences shaped or changed what you create?

I am aiming to get my first passport stamps this year! I am fortunate enough to have had work travel outside of the country, but this year, I have to travel because of my work. The goal is to visit the destinations I depict in my paintings. Is that called manifesting? 

Having collaborated with other creatives, can you describe how you go about choosing who you collaborate with?

1. Mutual interest;
2. An understanding that things take time;
3. Respect; and
4. Equal gain.

Can you share some of your career highlights thus far?

It’s such a difficult industry to have one career highlight. Everything is a win to me.  My most recent career highlight is creating and donating Waitin’ For Summer (2020) to AMREF Health’s Artball Benefit Auction in 2020. The painting raised close to R200k for COVID-19 related healthcare in Africa. That will always be proof that the work we make is not in vain. We have a purpose bigger than just exhibiting on white walls. 

Tell us about Tswelopele Studios and what it seeks to do?

Tswelopele Studios was formed upon my return to my home town of Pretoria, shortly after art school. Its intended purpose was as a design and photography company. This helped out financially during that weary period. I used the company to learn business skills we weren’t really introduced to at university. Now, I use it for administrative tasks for the art journey I am on.

In 2021, I aim to birth Tswelopele Foundation with the aim to help tertiary students with art materials bursaries and art education in Limpopo.  Like many, I went through university not being able to afford materials to make art in order to pass. We would have to result to selling examined artworks or applying for many materials bursaries or hope to be awarded with one by anonymous donors and institutions.  These struggles teach reliance and independence, but with the ongoing fight for free education, I wouldn’t want the next generation of disadvantaged artists to go through the same struggles.

Overall, what does 2021 look like for Katlego? 

Booked, busy and grateful. 

Follow Katlego on Instagram, here.