Keely Shinners

Art harmonious: an interview with Lizette Chirrime

by Keely Shinners

Lizette Chirrime is on a mission to heal us all. Her work, characterised by rich, hand-stitched recycled textiles weave together complex stories about trauma and reconciliation, ancestry and rebirth. Her simultaneous corporeal and abstract figures treat the body⁠ – as Chirrime specifies, the femme body⁠ – not as a site of exploitation, but mutability. But it’s not just about the artworks. There’s something restorative about Chirrime’s way of being-in-the-world. Perhaps it’s the space she creates for herself, so well-curated with objects holy and homemade. Perhaps it’s how she listens to the world around her, sensitive to the violence we continue to enact on the earth and each other, while refusing to tunnel into pessimism. Perhaps it’s the way she respects herself, speaking both candidly about her vulnerabilities and confidently about her life’s work.

Chirrime was kind enough to invite me into her home in Salt River to speak, over strawberries, about personal, political and spiritual healing.

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White/Left: the discursive cartoons of Stacey Stent

by Keely Shinners

Aristocrats’ potbellies swell out of their suits. Politicians’ heads balloon as one defamatory statement after another pours out of their overgrown mouths. This is the language of the political cartoon. It’s satirical and hyperbolic, cutthroat and to the point. It’s the language through which cartoonists are able to talk about power. The cartoonist draws attention to all that is criminal, atrocious and corrupt about those in power, while, at the same time, upends their authority, making them out for fools. South African political cartoons, for the most part, follow these same tropes, both visually and thematically. See, for instance, the work of Zapiro, Derek Bauer, Anton Kannemeyer, Conrad Botes, and Mogorosi Motshumi, to name a few. [1]

Stacey Stent, however, emerged in the 1980s as a cartoonist of a different kind. Her series Who’s Left? saw a run in the Weekly Mail, an anti-apartheid newspaper which later became the Mail & Guardian, from 1987 to 1990. The characters in Who’s Left? were not politicians nor military leaders, not business moguls nor European royalty, but white political leftists. Her aesthetic tended not to hyperbolise but to represent realistic conversations, everyday moments.

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