Presently she goes on further in her exposition of what I take to be a theme very close to home. The pun is unavoidable here. Through four installations made up of almost life sized cropped up boards showing people, animals, land and housing structures she takes us through four stories. She shows the interior of her home in Soweto, and to somewhat layered extend the land. The interior of her home is juxtaposed with the outside of the four room house. The land is teased out in two perspectives adjacent to each other; here while on the one hand a desolate farm is shown on the other hand a fertile farm is shown. It is important to note the farms are represented from a black farmers’ perspective. The successful farm is owned by black people and so is the desolated farm. The viewer is left to make their own assumptions and conclusions with regard to where the artist is taking them.
The nostalgic sepia tone, the man seated and reading the newspaper, as well as the ironing board and the table at the center recur as cues to reassure the viewer, cognizant with Khanye’s winning work last year that they are in familiar territory however the narrative discourse has somewhat expanded.
Mohlokomedi wa Tora is on at the Pretoria Art Museum until 7 October 2018.