Part of the installation ‘Look what I Have Done’, 2014
Heidi Sincuba’s statements:
“As the world changes, it’s often asked particularly in art: Where to from here? There are many modes of practice, but I have chosen one that requires me to look not only around me, but also behind me in order to make things new.
My practice is based on taking what already exists and creating a new concoction. Everything I see and have seen is the raw material. In my mischief, my aim is to devalue what we have previously thought to be true and question the very notion of truth.
Look What I Have Done, 2014.
Among my targets are religion; groupthink; racial politics (post-colonial theory); gender relations and popular perception. I use relational aesthetics, politics, anthropology, psychology and history to demonstrate my ideas.
The outcome is lined with the theme of cultural identity in relation to sexuality, collective (vs. individual) memory and stereotypes. Drawing influence from personal experience and popular imagery, the work I make is confrontational and sometimes grotesque.
Look What I Have Done, 2014.
Essentially, I survey the mutability of cultures. Our behaviours are merely an extension of our culture. I think of the world as a machine that never rests, constantly churning out quirks, miracles and disasters. To me that is the only reality. Everything else is a distraction, like make-up concealing a blemish.”
Everything Scatters, 2013.
“I was born in South Africa, 1987. I like to think of myself as an African surrealist, but there is a lot of activism in my work. I’m a critical idealist. What I produce in my images is my own analysis of my relationship to the world I live in.
My practice is based on taking what already exists and creating a new concoction. Everything I see and have seen is the raw material. In my mischief, my aim is to dishevel or even dethrone the so-called ‘powers that be’. I want to devalue what we have previously thought to be true and question the very notion of truth.
Legally Bound, 2009.
Among my targets are religion; groupthink; racial politics (post-colonial theory); gender relations and popular perception. I use relational aesthetics, politics, anthropology, psychology and history to demonstrate my ideas.
The outcome is lined with the theme of cultural identity in relation to sexuality, collective (vs. individual) memory and stereotypes. I’m interested in how these factors influence modes of creativity within art practice. Drawing influence from personal experience and popular imagery, the work I make is confrontational and sometimes grotesque.
Bullshit Edition, 2014.
Essentially, I survey the mutability of cultures. Our behaviours are merely an extension of our culture. I think of the world as a machine that never rests, constantly churning out quirks, miracles and disasters. To me that is the only reality. Everything else is a distraction, like make-up concealing a blemish.”
Heidi Sincuba.
