This cultural attitude pressed her to think as an artist about how people would react to a completely hairy female form. Using herself as a model (because she hadn’t figured out “the politics of representing other people,” she says) she began making these hirsute forms.
Matthew Harrison Tedford on Nandipha Mntambo —> http://bit.ly/19D6JRx
Image: Nandipha Mntambo, Titfunti emkhatsini wetfu (The shadows between us), 2013; cowhide, resin; left: 125 x 134 x 29 cm, right: 147 x 152 x 27 cm. Courtesy of the Artist and Andréhn-Schiptjenko, Stockholm.
Zeus, Nandipha Mntambo, 2009
"Working in cowhide and being a black female in South Africa comes with a whole lot of baggage."
— Nandipha Mntambo .
Watch the video at http://creativemornings.com/talks/nandipha-mntambo/2
Title unknown, by Nandipha Mntambo. She’s done a series of meditations on the Victory of Samothrace using cowhide and hooves.
Sculptor, Nandipha Mntambo, talks about creating mirror images of the human body at Design Indaba, Cape Town.
My intention is to explore the physical and tactile properties of hide and aspects of control that allow or prevent me from manipulating this material in the context of the female body and contemporary art. I have used cowhide as a means to subvert expected associations with corporeal…
Nandipha Mntambo: …everyone carries a shadow VI, 2013
Nandipha Mntambo, Cape Town from “There’s a Place in Hell for Me and My Friends” (2012, ph. Pieter Hugo)