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II. by @lb8b0000
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24 days ago
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II. by @lb8b0000
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24 days ago
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I. by @lb8b0000
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24 days ago
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III. by @lb8b0000
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2 months ago
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II. I am excited to announce that I am a #sasolnewsignatures finalist.

I deeply moved to have my work considered and woven into the tapestry of so many amazing artists from around the country showing at this year's exhibition. 

You have my thanks, @sasolnewsignatures by @lb8b0000
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2 months ago
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I. by @lb8b0000
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2 months ago
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III. by @lb8b0000
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4 months ago
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II. by @lb8b0000
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4 months ago
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I. by @lb8b0000
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4 months ago
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III. by @lb8b0000
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4 months ago
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II. by @lb8b0000
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4 months ago
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I. Kopano: Red Plurism (2026)

I draw while in transit, through periurban fringes and rural corridors where the ground beneath Black life is neither fully inherited nor securely held. Using ink and alcohol markers, I render landscapes that begin as recognizable sites and progressively dissolve into abstraction. Drawing here is not illustration, but an architectural methodology: a way of questioning how knowledge is produced from a spatial position of suspension. Each image is collaged and superimposed upon others, creating layered palimpsests that resist a single, fixed reading of place or identity.

These works ask: What does home mean for Blackness under conditions of onto‑epistemological displacement? Coloniality has not only occupied land but also fractured the very frameworks through which Blackness locates itself, spatially, metaphysically, and in relation to the land. My practice responds by refusing a stable ground. Instead, I propose a poetics of being in transit: the landscape as perpetual becoming, identity as montage, and drawing as a tool for re‑imagining spatial grounding where none is given. by @lb8b0000
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4 months ago
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