IN CONVERSATION WITH KHANYISA AGNES BRANCON
--:--
KHANYISA AGNES BRANCON | (b. 2002 Tzaneen, Limpopo) is an
interdisciplinary artist based in Johannesburg hailing from Polokwane.
Educated at the University of the Witwatersrand with a BAFA, her artistic
practice employs Photography, Printmaking, and Installation as mediums of
expression. Brancon uses an interdisciplinary approach to textiles as vessels
that honour the use of materiality in her work. Her practice is an excavation
of time unravelling timelines of past and present histories. A moment of
reclamation, her work creates narratives that hold space for memory, never
forgetting what was.
Grand themes of Special Genealogy, colonial erasure, maternal lineage, and
indigenous knowledge systems are addressed throughout her work. She
belongs to a collective bonded by the practice of printmaking with black
women artists from Limpopo. The printmaking collective, Boateng, fuses
materiality and black histories within its art practice. Brancon plans to
actively contribute to the art ecosystem as a decision-maker by creating
platforms of economic inclusion for artists. With her unwavering dedication
to the practice of art; their direction leans towards establishing a
multidisciplinary career path in professional artistic practice, institution
affiliated curation and the pursuit of cultural entrepreneurship.
interdisciplinary artist based in Johannesburg hailing from Polokwane.
Educated at the University of the Witwatersrand with a BAFA, her artistic
practice employs Photography, Printmaking, and Installation as mediums of
expression. Brancon uses an interdisciplinary approach to textiles as vessels
that honour the use of materiality in her work. Her practice is an excavation
of time unravelling timelines of past and present histories. A moment of
reclamation, her work creates narratives that hold space for memory, never
forgetting what was.
Grand themes of Special Genealogy, colonial erasure, maternal lineage, and
indigenous knowledge systems are addressed throughout her work. She
belongs to a collective bonded by the practice of printmaking with black
women artists from Limpopo. The printmaking collective, Boateng, fuses
materiality and black histories within its art practice. Brancon plans to
actively contribute to the art ecosystem as a decision-maker by creating
platforms of economic inclusion for artists. With her unwavering dedication
to the practice of art; their direction leans towards establishing a
multidisciplinary career path in professional artistic practice, institution
affiliated curation and the pursuit of cultural entrepreneurship.
