b. 1980, New York
link to website
link to STEVENSON
The conversations that followed aimed to arrive at a translation of Thenjiwe’s ideas that would be pared down in its poetic visuals even as it symbolically portrayed complicated, perhaps impossible-to-follow moves; to question but also to acknowledge with detachment the implausibility of such motion. The works — an imaginary record of a few days in the artist’s studio — are moves in themselves, as much as they are the descriptions of moves.
In the case of this series of prints, titled An Account, the works incorporate a choreographed and tacit set of manoeuvres in and between the gravure plate and chine collé in personal and marked individual ways. As Thenjiwe speaks of this in her accompanying text, “one swift gesture should capture the essence”.
Thenji’s reflection on the series:
An Account
Gymnastics judges use a system of shorthand to record manoeuvres performed by gymnasts in real time. The system was designed for speed and accuracy of notation. There should be minimal pen movements in rendering the signs - one swift gesture should capture the essence of the movement. The elements performed most frequently comprise the core symbols from which a multitude of variations are formed. This is an exercise in description. There is no judgment or evaluation applied.
Consider these images as a record of a few days. On a given day I may attempt many different manoeuvres. Sometimes one manoeuvre is made up of two or more moves. I have intentions at the start of the day - this combined with high expectations of myself can lead to chaos. At times a lack of perspective may cause chaos.
Perhaps this kind of descriptive account can be read as a non-judgmental gaze on the events of the day. It may allow me to see my own actions and work without unnecessary self-criticism or analysis. It might just allow me to see myself and my work with a kind of detachment that allows for honest evaluation held by self-love. In that space, the difference between chaos and order, success and failure becomes indistinct. The lines between them fall away. What is left is a fresh approach to the old relationship with myself and my work.