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19 minutes | 3 days ago
Dare We Hope for Unity
Reverend Heidi Petersen delivered this sermon for podcast. The scripture reading is taken from John 17. This podcast was set up as a service to the Saint Barnabas United church and community.Disclaimer: The views expressed do not reflect those of baobulb.org
44 minutes | 3 days ago
Jesus, The King of Glory, returned home; Jesus called us to Be Witnesses
Reverend Kelvin Harris prepared this sermon for podcast for the Bosmont Congregational church. This podcast was set up over a year ago almost in response to the lockdown.Disclaimer: The views expressed do not reflect those of baobulb.org
71 minutes | 3 days ago
We chat to Violette from Bulawayo, an author with a strong journalistic background.We will be unpacking her latest novel Mulberry Dreams and looking into her the politics and perspectives around the 'coloured issue' , identity - both social and political and the Zimbabwe story.This is a podcast where we talk art and art processes.Disclaimer: The views expressed do not reflect those of baobulb.orgTranscriptWesley Pepper: [00:00:00] Hey greetings everybody. This is Wesley pepper and you're tuned into my podcast Wesley Pepper’s Art Lexica, which is brought to you by spudcaster and baobulb, um, yeah, man, um, Just before we start, like, uh, recap on last week's episode. I had a lot of fun with the Erica last, um, last week, I think we touched on some really cool stuff.[00:00:33] We spoke about some really cool stuff. And, um, she does, um, um, you know, I really think those, uh, uh, ice sculptures are incredibly beautiful. And, uh, I know she was also working on that, uh, trying to raise funds for that project in Worcester. So all the best for that. I kind of hope that my, um, our episode yesterday, would help somewhat, you know, maybe somebody would hear it somewhere, some potential or whatever.[00:00:59] Yeah. So yeah, big up to her for that. I think that was a, that was a lot of, that was fantastic. Fantastic episode. Yeah, man. Uh, moving on to this week, um, this week we're talking to an author from Bulawayo in Zimbabwe. Uh, her name is Violette Sohaili Kee-tui. Um, I hope I pronounced that correct. Um, so she's the, uh, um, she's an author of a book titled, uh, Mulberry dreams.[00:01:30] And I actually came across the book very interestingly enough, um, through Philani, uh, we know we spoken with, we spoke to him a few times on this podcast and, uh, Philani made me, uh, uh, you know, made me do it and like added what he said about it. And I read the, uh, uh, what John Eppel, uh, was also a very, uh, for those of you don't know, he's a really highly rated, um, um, poet in Zimbabwe where I've read a lot, bunch of his stuff too.[00:02:00] And I think he's an incredible writer as well. Um, and that really made me like, then I got really, um, or other, those, you know, reading up about that, like really I said, okay, sure. I really would like to talk to this, um, to, um, to talk to the author and, um, you know, we set it up in and everything and like one of the things that, um, Um, from what I can, from what I can tell that, um, that she writes about, um, something that strikes home to me, you know, given that I am, um, um, um, mixed race or whatever you want to call it.[00:02:33] Um, yeah, is the, you know, is the whole like, uh, I guess Southern African, uh, um, Identity politics around mixed race people. Um, you know, I don't speak to it. I don't speak about it too much. In fact, I've memory serves me. This will actually be the first episode where I sort of tackle or, or speak about that through, um, through, um, through another artist’s work.[00:03:00] Uh, yeah. Cause it's a topic that is just so complicated for me and so layered. And I think it'll just take me for you, for me to give. Uh, for other, for me to give you my perspectives on, that'll take a whole bunch of episodes and it's a really complicated thing. Um, but yeah, but anyway, um, but besides that, that's not just, we're going to talk about, about the entire book, about publishing or rather her career before.[00:03:25] Um, I know she started off as a journalist, so we were talking about her career before she started, um, um, um, um, you know, became a full-time writer and what she's doing now and of course moving forward and like, you know, like with everybody else, I'm also interested in how about, how are they adapting to the post COVID world, you know?[00:03:42] Oh, in terms of technology? Um, yeah, so, so a lot of cool stuff to look forward to our chat, to you’s towards the end of the episode about, um, The last few, uh, about future, uh, all future episodes and, uh, yeah. Well, it's all important art giveaway. And so stay tuned for that. Um, hope you enjoyed today's episode and I'll chat to you at the end of this. [00:04:12] spudcaster: [00:04:12] baobulb.org is a podcasting platform and a medium for storytelling.[00:04:17] This podcast is also available on all the major podcasting apps, including Apple and Google podcasts, podcasts your life with baobulb.org [00:04:29] Wesley Pepper: [00:04:29] Okay, here we go. Uh, Violette, um, let me get your name, right, because I'm not, I've sometimes more and more than often, sometimes pronounce things incorrectly. So it's Violette[00:04:41] Sohaili, is that right? [00:04:44] Violette Sohaili Kee-tui: [00:04:44] Um, so it's, it's, uh, Violette[00:04:51] problem. It's a common mistake. [00:04:54] Wesley Pepper: [00:04:54] Okay. Is the surname a nickname? Is it a surname surname, or is it like a stage name or? [00:05:01] Violette Sohaili Kee-tui: [00:05:01] So the Sohaili is my maiden name. And I established myself as a writer, as a journalist with the names. Sohaili now I'm known professionally as , which was my married name. So the book actually is just Violette Kee-tui but on Facebook and other[00:05:23] Places, because I'm trying to connect with people who knew me before I use Sohaili too, is I know it's a mouthful, [00:05:31] Wesley Pepper: [00:05:31] but no it's it's, it's, uh, it's interesting. It is interesting because yeah. Interesting, interesting, interesting. Yeah. So you try to try to connect with your journalists or other people will still read you as a journalist and you're kind of your fan base that you're creating now, right?[00:05:49] Violette Sohaili Kee-tui: [00:05:49] Right. Yes. Yeah. And especially with Facebook, because I'm trying to connect with high school student, um, high school classmates, um, I've used the full name. Um, and so it's quite a mix of, um, ethnic backgrounds as well. Um, the, so Sohaili my[00:06:05] Wesley Pepper: [00:06:05] yeah, yeah, yeah, yeah, yeah. Tell me about that. Okay. Okay. [00:06:10] Violette Sohaili Kee-tui: [00:06:10] Parents are Iranian by, by birth though.[00:06:13] I was born in Zimbabwe. And then my ex-husband is half Chinese, so yeah, we got the whole United nations going. [00:06:23] Wesley Pepper: [00:06:23] Yeah. Apparently I [00:06:25] spudcaster: [00:06:25] like it. [00:06:27] Wesley Pepper: [00:06:27] Yeah. You got to go to Asia. You go, wow. Okay. Africa is represented. So that's actually definitely very cool to like, to like, to like kickstart because, um, yeah, man, like you said, like I, from what I understand, you had a long journalist, a long career as a journalist.[00:06:45] Right. And, um, yes, actually I want to touch base on that, but like since of the first time you are like on the, uh, on, um, on my show, uh, just give my listeners like just a brief thing. You're like, you know where you're from, what you did, did it, how you became a yeah. You know, just a very brief thing on that.[00:07:05] Uh, yeah, we come what you did. Yeah. That type of thing. Okay. [00:07:10] Violette Sohaili Kee-tui: [00:07:10] Great. Well, first of all, thank you so much for having me, and it's a pleasure to be sharing, um, my thoughts and my book with you. I appreciate that. Um, so I'm born in full awares Zimbabwe of Iranian parents. Um, I started as a trainee journalist when I was 18.[00:07:31] I had plans to go to a media college and the very same day that I got the acceptance, I had the opportunity to train under two extremely experienced editors. So it was just at the time when our government run newspapers were becoming a lot more restrictive. And these two editors, um, wanted to enjoy the freedom that they had of speech and of the media.[00:07:59] They started their own independent newspaper and, um, they took me on as a trainee. So I was this 18 year old with. Very little experience except a love of writing, working under these two unbelievable editors. No, not early in some Baba, but throughout the region, like fierce editors. Um, so it was kind of a baptism by fire.[00:08:24] Yeah. They taught me the, the trade incredibly well. Um, I went on from there to work at the national newspaper, the Chronicle, one of them, um, can I start it on the news desk, just for that, you know, to, to tighten my writing and my experience. And then very soon I moved to the features desk because it became clear.[00:08:47] I wasn't the chase down ambulances type of journalist. I was the one who liked to sit and, and get the stories and, and talk about people and experiences. And I was clearly a feature writer from the beginning of it. I needed that. News writing under deadline to hone my skill. And I appreciate that time. It was, yeah, it was during some quite dicey in our politics.[00:09:14] So I S I saw a few things which made me quite sure that I wanted to do more in the feature writing side than the political side of things, um, sets my journalism background. I, I carried on most of my adult life as a journalist. I've worked for the Edgar's club magazine, where I was editor for some years.[00:09:40] I've worked for Zimbabwe sun where I was a lifestyle magazine editor. I've done freelancing, um, pretty much anything that is written word as I've done in my adult life. But it's [00:09:55] stupid. [00:09:55] spudcaster: [00:09:55] Anyway, [00:09:57] Violette Sohaili Kee-tui: [00:09:57] that's the journalism background. [00:10:01] spudcaster: [00:10:01] Okay. Okay. Yeah, [00:10:03] Wesley Pepper: [00:10:03] yeah, yeah, yeah, yeah. And this kind of, let's kind of, let's kind of pause there because there's a few questions I wanna, I wanna, I wanna, I wanna touch on the, uh, the first one, the first one is, and this one, I'm sure we're going to need up to this.[00:10:14] When we talk about the book, uh, when you were saying, um, as a, as a journalist, you were saying about that very interesting times, politically what's happening is, um, so when a Bach was at and water and, you know, what was it specifically that, uh, I would say quite under your skin? [00:10:30] Violette Sohaili Kee-tui: [00:10:30] Hmm. So it was the early eighties, uh, too.[00:10:35] It was the eighties we had, we had the whole ugly, um, part of our history and a great deal of, of military activity in, in my part of the country, which is motivating them. And yes, there was, there was a time when I was the only journalist on duty on a Sunday and had to drive into quite a remote area. And, um, it, it was, it was a frightening time, um, with, with people being killed by the thousands, which numbers were early finding out.[00:11:18] No. Um, and so, yes, I think it was all a very political and heated time, both in our country and the newspaper became quite a hotbed of, of, um, under, um, sort of under covering political, um, issues and unearthed the scandal while I was there a government scandal. So our newspaper, the Chronicle became really well-known and I remember we used to have to line up.[00:11:49] Uh, we'll try to get street mobs of people to get to the office every day because people weren't there trying to get a copy of the paper to see what was the new development. So there was a big scandal called the will avail scandal, which came at the same time and our newspaper, there was a government one, the editor stepped out and he exposed it.[00:12:10] Um, so it was quite an exciting and heady time. I could understand a journalist and to be at the Chronicle. Um, but yeah, as I say, I quickly went on to, um, telling the stories of, of the people rather than the news and the political events I felt impacts could still be made. [00:12:29] Wesley Pepper: [00:12:29] That's a, that's a, I actually wanted to lead into that question after that.[00:12:33] Uh, um, well, you actually answered it by saying that, um, like, you know, if, if lucrative and what, what part of it impacted you the most, if you're talking about the, about that, the people who are, I guess my question is, uh, or other, I think, um, uh, or what type of store is, uh, where you, where you telling where you're telling the political story, or you're telling how the politics are, uh, affecting, uh, the people or, you know, or what, or what side of the story, um, um, um, were you looking at at that day?[00:13:08] Violette Sohaili Kee-tui: [00:13:08] Um, I was looking more at the, the social impact and, um, which continued today. And I don't think you have to really make a political statement or, or talk at length about the politics to see that. People are struggling in different ways. And, um, the impact from the eighties are still being felt. Um, and as you know, in South Africa, it is, um, it's not an easy road to finding, um, you know, today it's quite ironic cause it's size and Barbara independence day.[00:13:49] Yeah. And independence is one thing that can be declared, but to feel it into [00:13:59] Wesley Pepper: [00:13:59] thing. [00:14:00] Violette Sohaili Kee-tui: [00:14:00] Um, and so I, I quickly got put onto a woman's section where I wrote a Wiki women's column and women's programs or yeah. Women's empowerment issues or just the stories about women's courage and sure. And freedoms or lack of freedoms.[00:14:21] And that led one thing to another. I mean, this, this was some years ago and I probably changed a lot in both my attitude and in, in what I would write about, but those were my early years. [00:14:33] spudcaster: [00:14:33] And, um, [00:14:35] Wesley Pepper: [00:14:35] um, um, yeah, I, I want to, I want to touch on that because I know as a, um, on this, on this podcast, we talked to a lot of creators, a lot of artists in different fields and so on.[00:14:43] And like one of the things I know, even in my own, in my own practice is that, um, um, those things that move you specifically in your early twenties, uh, Monday around where you're young as a big impact on the art that you create later on in the year. So from what I can understand those, um, I guess like what, what, what happened over there?[00:15:01] How you conceptualize that, uh, um, Well, we're kind of, we'll kind of get to that, but like, I, I would assume that like you use some of that for your, um, for Mulberry dreams, is that correct? Or some of the, some of the experiences or [00:15:17] Violette Sohaili Kee-tui: [00:15:17] I think more, maybe some of the people that I met. So what I want to stress about the book and, um, hope you will get to read it.[00:15:26] If it, if it makes any kind of political statement, that's completely what the reader would read into it. It's not, it's written as a, a story about, as a human story. And I'd like to think that it would, to some extent transcend any community and any country, because it's a lot more about the struggles of, of being people in this crazy world when we're taught to be separate, rather than together, whether that sets societal level or political level.[00:16:02] At the heart of it were just people who are feeling disappointment and hope and love and loss and, um, you know, um, tragedy and celebration. Um, and so it's a very human story, which is set against the backdrop of, um, some things that had an impact politically and in our parts of the world that had huge ratio.[00:16:27] Yeah. Um, implications. It's not, uh, It's not a political book, it's a human [00:16:37] spudcaster: [00:16:37] story, but [00:16:39] Violette Sohaili Kee-tui: [00:16:39] politics, politics, they should be about humans. They should be about the individual. They become about something completely different, but politicians and politics should be about the people and not just how they vote, but [00:16:57] spudcaster: [00:16:57] are and what their needs, their aspirations.[00:17:02] Violette Sohaili Kee-tui: [00:17:02] Um, so yes, yeah.[00:17:07] Finish off my journalistic background. Yes, I then after that stint at the, uh, the local newspaper, the national newspaper, but based in Bulawayo, I went to London and I studied journalism. I just felt that I had the hands-on experience and I now needed the formal qualification. So I did an honors diploma journalism.[00:17:32] And then came back and worked largely in feature writing from then [00:17:37] spudcaster: [00:17:37] on. [00:17:38] Wesley Pepper: [00:17:38] Yeah. Okay. Um, in your, um, you consider yourself as a narrative journalist, right. Or when you were a journalist, right. And United saying we're moving to the future. I think, um, what is a narrative journalist? [00:17:52] Violette Sohaili Kee-tui: [00:17:52] So it's kind of a made up term because it's a journalist who wants to tell stories and dear friend of mine, um, and mentor Johnny April, um, use that expression.[00:18:08] And I think it really works because it's far more than a feature writer. What does that say? But a narrative journalist who still sticks to the facts, but tells a story. [00:18:20] spudcaster: [00:18:20] That's [00:18:20] Violette Sohaili Kee-tui: [00:18:20] that's I'm looking at. So it still has qualities of a, uh, of a narrative with the description of the person setting, but it still hinges on the fact either the person you're interviewing or the place or the project.[00:18:39] So it's a mix of imagination in terms of describing, but very much factual. [00:18:46] spudcaster: [00:18:46] I like that. Uh, yeah, [00:18:47] Wesley Pepper: [00:18:47] I can actually see that. I see that. Yeah, absolutely. Absolutely. I can relate to that. Yeah. Story [00:18:56] Violette Sohaili Kee-tui: [00:18:56] through the [00:18:56] spudcaster: [00:18:56] story. Yeah. Yeah. [00:18:57] Wesley Pepper: [00:18:57] And I can see how that gets sort of built up into actually putting together a formal publication, uh, because the stories would stick and so on and so on.[00:19:06] Yeah, I get that. That's actually quite interesting. So now that we've covered the journalist thing and can end, um, you know, and that we can understand like where, um, The Headspace ease. And now with a description of nitrogen, I can see like what style writing and where you going and so on. So, um, just a, um, just a question on, um, underwriting [00:19:24] spudcaster: [00:19:24] as a, uh, as a, as a, uh, [00:19:27] Wesley Pepper: [00:19:27] uh, I would say as a profession, I know that from a South African perspective and I...
23 minutes | 8 days ago
How to Podcast: Episode 1
Disclaimer: The views expressed do not reflect the views of baobulb.orgIn this podcast series, Candice Nolan interviews professional podcasters or people working in the podcasting industry. This week features "Sound Wizard" Richard Newton. Richard is a top rated Audio Engineer and Podcast Producer. Before COVID he used to produce live concerts. But his skills have translated well in a COVID-19 world. He shares equipment and other tips.
19 minutes | 9 days ago
Disclaimer: The views expressed do not reflect those of baobulb.orgReverend Heidi Petersen of the Saint Barnabas United Church delivered this sermon for podcast.
30 minutes | 10 days ago
Lord, Here Am I. Send Me.
Disclaimer: The views expressed do not reflect those of baobulb.orgReverend Kelvin Harris delivered this sermon for podcast. It is in service to the Bosmont Congregational church and it's ministry.
50 minutes | 11 days ago
The Detective Novelist
Disclaimer: The views expressed do not reflect those of baobulb.orgIn this episode I talk to award winning Zimbabwean author Bryony Rheam about her writing process behind her two novels ' That September Sun" and latest All Come To Dust.This is a podcast where we talk art and art processes. Don't forget to like, share and subscribe!Transcriptwesley: [00:00:00] Hey, good and swirl. This is Wesley Pepper. Yeah. And this is my podcast with the Peppers art Lexia, and is brought to you by Spudcaster and Baobulb. Um, and, uh, on that, uh, yo man, this is like recording of my 50th episode. Like. 50. So a big up despite Spudcaster and Baobulb being there, like they listen to my voice for 15 weeks.[00:00:34] Right. Um, yeah, I'm sure. I'm sure they certainly have an ear full, um, big up to them for all of that, that I think that's quite an achievement for both of us. Um, And yeah, man, as you know, I've been talking up the whole thing of a giveaway, which I'm doing a 52nd episode and more beautiful follow at the outro.[00:00:57] Uh, before we move on to today's episode, uh, first of all, big ups to violet. For coming through, uh, last week, like Mulberry dreams. Uh, really interesting, man. I think I really enjoyed speaking to, uh, um, about, uh, yeah man, I thought the way we, uh, spoke last week that we'll be back, uh, both as a brand or as a writer, you know what actually.[00:01:24] Great. It was great. Uh, so thanks for coming. Um, um, to that, and on that, we're gonna kind of keep on that, um, lighter theme. Should I call it or at least today's and Allison barber and the writer, um, and she tours all the way from Bulawayo. So we spoke in to Bryony, Rheem. Order them. I'm not sure if I pronounce his surname correctly, we'll find out.[00:01:49] Yeah, man. It should be in pronouncing names. Yeah. Um, yo man, she's pretty interesting. I she's, I'm going to be talking a little bit about, well, She's a, um, she's an award winning, um, I'm a writer and, um, she's just released her second book. Um, my second, um, novel and we'll be unpacking both that novel, but also a first one, the, of the September side and or this.[00:02:11] September 2nd, it was better this way. Just thing, because the book actually got translated into Arabic. So that was, I find that really interesting. So we talking a little bit about that latest book or come to task, um, a little bit about highlighting what inspired and you know, she's based in Zim. Um, and you know what I, on this platform, I'm always interested in, uh, focusing on the artists.[00:02:29] Processes and how they pretty much take their environment and interpret what, uh, you know, what's happening around them. And, and, and like, do you, my brothers and sisters from Zimbabwe, you know, like I've got much love for them, what they're doing there. So, uh, we will unpack a little bit about that if that, and to see what future project to use and so on and so on.[00:02:50] And so I'm, yeah, I'm at least we'll back, um, or rather look forward to all of that. And, um, Yeah, I'll talk to you guys at the end of the episode, uh, with advice for future episodes and yeah, man, that's the 50th one. So I feel, I feel kind of that's a long week, 50, 50 weeks is a long time. It's a, it's a long time given that, um, you know, like this, um, this art thing, um, you know, we pretty much work as freelancers and to do something for 50 weeks on, on one, I think is quite a phenomenal achievement.[00:03:21] So yeah, I mean, I think it's all the new listeners. Um, you know, and remember, you can always catch me on all my, uh, social media pages. So that's, where's the Pepper at Twitter. Twitter, Facebook and Instagram underscore Pepper underscore. So, yeah, but I'll, uh, talk more about all those other interesting things at the end of the episode.[00:03:43] I hope you guys, uh, enjoyed today. You know, I'm definitely looking forward to it and, um, Yeah, man. It's um, let's see what Brian has to say. So stay tuned for that. [00:03:55] Spudcaster: [00:03:55] Baobulb.org is a podcasting platform and a medium for storytelling. This podcast is also available on all the major podcasting apps, including Apple and Google podcasts podcast, your life with baobulb.org.[00:04:12] wesley: [00:04:12] Okay, so we are recording. Uh, hi Bryony. Oh yeah. We had a bit of technical embarrassment there, but it's all sorted out now. Thanks for coming through. And, um, I guess let's just start off like, uh, firstly, I know you had a, um, you had a break, was it in some way? Uh, for like a few days or was it a week or so?[00:04:33] So you should feel refreshed. Um, so how are you doing, you know, how are you doing the Sunday morning? [00:04:40] Bryony: [00:04:40] Yeah, I'm, I'm actually, I'm feeling really great. Um, you know, as you say, I've been away for a few days. Um, we went up to the Eastern Highlands in Zimbabwe and. It was just great, you know, just wonderful to get away and, um, actually leave for the first time in over a year, I think.[00:05:01] Um, so that was good. [00:05:02] wesley: [00:05:02] Yeah. No, that I can, you definitely sound quite chilled out. Um, so, um, yeah man, like for my listeners, um, you know, since you FaceTime on this platform, um, just so just give us a, uh, Just a brief, I know that you were, uh, you were an award winning writer and we're going to be unpacking, uh, both novels.[00:05:23] Uh, what's the emphasis on the, on the, on the last one. Cause it's, um, It's out now. Um, but yeah, man, um, we're going to focus on your, uh, journey as I'd like to as well. So just the listeners, like where did the writing bug start? You know, um, like how long have you been writing for, um, that type of thing and, uh, sort of like, um, the, the, the story up until you became a full-on or full-time, um, or published.[00:05:50] Bryony: [00:05:50] Um, okay. Well, I, you know, I've always, always loved writing and, um, And I can even remember, uh, being probably about grade one, you know, any about six years old and I would write little stories, um, and actually make them into books, you know, sort of, um, get the old state lout and, and make these little books.[00:06:13] So I've always had that, that, um, desire to write. Um, I mean, um, when I was about 11, my dad worked me a typewriter. Um, I'm one of those old ones. And I used to love, you know, sort of sitting there thinking that I was right. Um, and, and also, you know, even then I started, I actually started sending stuff off to publishes and that never got any way.[00:06:42] Of course. I mean, I was far too young, um, and, uh, Then I suppose, you know, there was stuff at school, you know, writing for competitions and all that kind of thing. Um, but it will, although I always wanted to be a writer. There was a kind of feeling that I still needed to do something else, you know, um, be a journalist or be a teacher or whatever, you know, I think that there's a funny thing with a writer.[00:07:10] It's not like you just leave school and you become a writer, you know, it's, uh, it's not like other jobs. Um, so, uh, you know, I was, I went to university, I studied English literature and all that kind of thing. And, um, I suppose it really wasn't until I was about, maybe about 22. Two 23, um, that I actually started writing stuff down and keeping a notebook.[00:07:36] Um, and I used to actually just write anything down, things that happened during the day. It was people at seed and, um, I was off to university. I went to London for a bit and I, I did what so many Zimbabweans do. You know, you, you share a house with about 25 other people so that your rent is very minimal.[00:07:59] You know, you have to share a room in a room with people and you know, and I'm not, I'm not the kind of, I'm pretty, I'm pretty much a person who has lots of space. So, um, what happened there is I, you know, I followed this refuge in my writing, you know, I would, I had, you know, my bed was my only space. And so I used to lie on the bed writing and, and that's actually where I started my first novel, which was the September sun, um, you know, just from those snippets that writing down.[00:08:35] Um, but then my first short story was, was published. Um, Uh, actually before anything else, you know, I, I, um, I just saw an advert one day. It was in the art gallery and they were looking for short stories for an anthology. So I, you know, I wrote the short story and, and actually I think everything really came from that because, you know, after that, I started going to writing workshop and, you know, um, Really thinking about that, being a writer.[00:09:11] Hmm. [00:09:11] wesley: [00:09:11] Interesting. Tell us about the short story. What was the title and what was it about? [00:09:16] Bryony: [00:09:16] So, um, the title of the short story was the cue. And, um, it, it was actually based on an incident that I'd seen a few years before where I was, um, at a post office. Um, and there was a, there was a queue of people, you know, getting stuff done and, um, There was this elderly, the elderly lady in front of me.[00:09:40] And, uh, you know, we'd been queuing a while and this guy just walked in. He walked into the post office, he went straight to the cashier and he started, you know, doing all his business and whatever. And of course we all started looking at each other, like, you know, this guy has just jumped the queue. We've all been standing here and, um, And, uh, but of course, as usual, nobody sort of says anything, you know, but this old lady, she, she, she went for the sky, you know, and she kept, she started shouting at him.[00:10:12] She kept saying, this is a cue. This is a cue. We've all been queuing, you know, get to the back of the queue. And then she started having a go at the cashier saying, you know, why, why was she serving this man? When he, she knew that he had just walked in and jumped the queue. And so this, this incident had stayed with me.[00:10:31] And, uh, when I saw this advert, I sort of thinking about the story that had always been sort of knocking around in my mind. And so I wrote it from the point of view of the old lady, you know, like, um, that's terrible day that she's having and all this kind of thing and how she got to this point where she just lost her.[00:10:55] wesley: [00:10:55] Interesting. Interesting. I have, I have I've I've two questions. Uh, one sort of an observation type of question thingy. Um, and I guess Island's a little follow on, on that. So, uh, just to rewind it, but you were saying that, um, Um, you know, you had like this journal, you know, that should drop down thoughts.[00:11:14] And I know that's, that's a very personal space personally. I also had, um, you know, she used to keep something of that. So it's, I kind of know the it's real personal thing. So, um, and I know, and I'm assuming, yeah. And I kind of want you to comment on that. Um, That those thoughts are the features of like what's happening around you, is that correct?[00:11:32] So you're talking about your experiences every day and, and, and, and that type of thing. So what I wanna, what I kinda wanna know, because if I must relate that to your, um, to the, to the short story, the Q a it's a personal experience. And if you say you're writing from the old ladies, um, I know that in Africa, uh, queuing is a part of everyone's, uh, Mondays you're in the higher end bracket.[00:11:55] Of course. Uh, uh, I guess daily routine at Saks personally, I hate you. I hate you as, uh, I really like to avoid them at all costs sometimes even drastically. Um, so, so I sort of understand those, the frustration and, and, and, and it's a real, it's a real African thing, actually. So, um, my question is, um, Um, um, um, uh, um, and you know, this, this, this is before we get to the September song, because you said you were, you started to write that, that a similar process as well.[00:12:28] So what is it about your everyday experiences? Uh, you know, uh, I guess sticks out for you, you know, and like, Um, you know, as, as, yeah, in, um, in, on, on the continent, you know, we got a very, or you, you basically, you have to be political. Yeah. Even if you're not, you have to be in that type of thing. So I guess what I'm asking you is what is it about tricks, you know, much everyday experiences that really grabs you and, and, and, um, uh, you know, Saudi that eventually finds its way into a novel.[00:13:00] Yeah, [00:13:00] Bryony: [00:13:00] it's, it's quite an interesting thing. You know, I love, I love being an observer. Um, you know, uh, one thing I really liked doing is, you know, going into a cafe or, um, you know, sitting in a, in a public place and just watching people probably sounds a bit creepy, but, um, you know, just, uh, people watching.[00:13:22] Um, you know, I think that the just ordinary everyday life is interesting. You know, you, you don't always have to have, um, a story with, um, you know, aliens landing and, um, uh, you know, some great gold, you know, everyday life was just full of character. And people and, you know, and that's what life interesting, you know?[00:13:50] So sometimes it's just that, that observation of the way people act, you know, or react, um, you know, uh, that the sayings that they use, the way they talk, um, you know, different kinds of people, um, you know, that's, I think that's what I really liked. Observing. Um, and you know, I suppose, you know, if you want to sort of look at things politically, you know, it's, it's also interesting to look at the way, um, uh, I suppose different people of different races react to different situations, you know, how you get that whole range of people again.[00:14:26] And, um, but, but to me, I think what, what is most important is, is the personal, you know, the, the, the person I think is, you know, um, The most important thing to, to be looking at. [00:14:43] wesley: [00:14:43] Interesting. Yeah. Yeah, yeah. I, I can actually relate to that. Um, there's um, there's something I picked up, uh, when I, when I was reading up about you, um, is that you use Agatha Christie enthusiastic.[00:14:55] Right? So, um, personally I've never did any of her books, but I definitely know a lot about, and I'm as funny. Um, I actually did some water heating up on Agatha Christie, cause I, I like to know things, man. Um, and, um, I was trying to find kind of find, uh, similarities between her writing and your books, because I know she was famous for being a detective writer.[00:15:20] And, um, I know like in that year, when she was around, I mean like women basically at are very few positions in power or influence and she was right up there. So, um, If I didn't have also there that she sold like over a billion copies, which is wow. Okay.[00:15:42] Did it leave a note? Right. This can sell that amount. Um, so, um, I found really interesting that she was the scenario. Um, uh, I mean she has a commercial shop. Like explosion. Um, so what is it about, uh, uh, you know, what is it about our writing? Um, I know, you know, she's a detective and I know you also follow with some of the genre and I kind of want to get to that.[00:16:05] Um, because it's because I find it interesting that you saying you look at the individual. So I thought that's why, let me bring this question up and see how. Yeah. What relationship or what is it about Agatha Christie's writing, you know, your, uh, perception of the world, your processes? How do those two worlds meet?[00:16:22] And I guess what's the, what's the, what's the style of writing and what's the, yeah. Anyway, I'm asking to you, it's just, um, yeah, just,[00:16:35] Bryony: [00:16:35] it's so difficult sometimes to. Explain why I like her writing so much. Um, I think, um, It's the puzzle. It's the puzzle that she, you know, that she obviously has in her story, the way that you know, what I've learned, um, through, through reading. So many of her books now is that like, you've, you've got to constantly be alert from, from day one.[00:17:00] You know, that she's always, even before someone's been murdered or whatever, she's, she's giving you all these clues all the time. And she does it in such a way that. Not to actually drawing attention to the fact that, Oh, look, this is a clue, you know, you need to be, you need to be aware of this. It's, it's all, um, it's almost like a picture in which you have to find a few things that are hidden, you know?[00:17:25] Um, so I like that scenes. I like the puzzle, you know, I like trying to work out, um, who did it and also to sort of try and see if I can pick out those clues, you know, the right. Um, because obviously lots of wrong crews, um,[00:17:49] is actually the, the, again, the character, the way she draws characters know creates characters. I really, really like that. Um, uh, Uh, you know, she created very specific people and, um, uh, they're quite memorable, you know, some books see, you know, you can read them. Um, but I, but I, I think characters tend to stand out.[00:18:15] Um, um, and, um, yeah, I, I think I admire that about her. [00:18:21] wesley: [00:18:21] Yeah. So, so I would assume like in your books you also have a very similar process with the come see your main characters. Is that correct? You, um, you're like even your readers clues in your, in the, in the first few chapters. [00:18:36] Bryony: [00:18:36] Yeah. I like to think that I've, you know, I've been doing that, you know, to, um, to sort of, uh, Yeah, drop, drop those clues, but also sort of some maybe misleading conditions as well.[00:18:49] Um, as clever as she, she really does. [00:18:59] wesley: [00:18:59] Yeah, yeah, yeah. Um, there was another thing. Um, it actually. I wanted to ask you this in the beginning, but I just thought that I wanted to jump that Agatha Christie thing now, because of what you said earlier on, uh, they say into that in 2017, uh, you were one of the five recipients for the miles, uh Farland foundation.[00:19:19] And from what I can understand, you had a chair out, quite a lot of words, um, into that. Uh, or as, uh, as part of, um, being selected for that. Um, so what, um, um, what book or novel, or why did you write about, um, as part as, um, as part of being part of, um, be selected as part of that foundation? [00:19:41] Bryony: [00:19:41] Um, okay. So yo, um, now at this point I had, um, the September stuff already published.[00:19:50] Um, and I'd actually finished writing. I'd finished writing all come to dusk, but it was still...
23 minutes | 15 days ago
The Finger of Thomas
Disclaimer: The views expressed do not reflect those of baobulb.orgReverend Kelvin Harris delivered this sermon for podcast as a service to the Bosmont Congregational Church community.
44 minutes | 18 days ago
Disclaimer: The views expressed do not reflect those of baobulb.orgWesley Pepper sits down with Zolile Petshane, a visual artist who works mostly in oil pastels and mixed media. They discuss his upcoming exhibition at Lizamore & Associates fine art gallery. Art lexical is a podcast where we talk art and art processes.TranscriptWesley Pepper: [00:00:00] Hey everybody, this is wesley pepper and you are tuned in to my podcast. Wesley Pepper’s Art Lexica, and it's brought to you by Spudcaster. And Baobulb, uh, we are into episode 46. Um, I normally. Just forget to mention what episode we in, you know, but I'm always aware what episode I was recording. So we're close to that number 50 Mark man.[00:00:33] And that gets me really excited because I'm like, I may say in the episodes I wanted to do a give away and now it's getting more and more like a reality. Uh, but I'll keep you up to speed with that, especially on my social media. And you can always check me out on Facebook @wesleypepper. Twitter @wesleypepper and, and, and, or Instagram, or even LinkedIn at say by the same name, Wesley pepper, but so you can give me, uh, you can catch me, um, or either find out what else has been coming, um, or coming.[00:01:02] And what's happening on the show on those, on those handles. Um, yeah, man, moving on, let's talk about, uh, or rather last week's episode, with Dipou from Obtain art gallery for coming through. Um, You know, remember we spoke about, um, that group show that they were doing. And, um, one thing that always that's sitting in my mind from episode was the whole virtual gallery space.[00:01:26] That's something I'm definitely going to be keeping an eye on. And, um, yeah, most definitely will follow up on that. Absolutely. For sure. Because yeah, I mean, as you know, we try to, um, focus a lot on how arts is adapting. To technology, um, how we're using it, um, and all that type of thing.[00:01:45] And I think that's super cool. So that's something really cool to look forward to, uh, today's episode. Um, I've got somebody really, um, I think, um, quite large, um, you know, well, you know, we'll break up how I, what I mean in that in the interview, but today I'll be talking to Zolile Petshane. Um, Mostly about his, um, solo show coming up on the 4th of April Lizamore & Associates fine art gallery, um, title, chaotic CBD, uh, you know, like I would classify zolile as a abstract artist, you know?[00:02:23] Um, cause he does this really fantastic, interesting conceptual work. Um, and he uses it in a more mixed medium, but I know it's more oil pastel based. Um, and if you're really familiar with the medium oil pastel actually has a very, uh, I think it's, um, you know, it's greens and, and reds got a, got a very specific look and feel, um, colour I'm talking colour and, um, and texture.[00:02:44] And I know Zolile as an absolute master of that because. Um, I'm quite familiar. I mean, um, I mean, I know personally for the longest time, but, um, I'm also quite familiar with this technique and I know you started off a many many years ago when APS needed those monoprints. So, um, we’re kind of going to track that, uh, the history of his process and how it's led up to that because oil has been making some massive moves and big up brother to that.[00:03:07] Um, so we would be unpacking all of that. Um, and his show, his processes and how he feels about covid because, um, yeah, man, it's. The politics that aren't, this vaccine is becoming more and more political and I'm, I'm, I'm getting some wild fucking stories around it. So if this time I, you know, I'm going to pick his brain about that, but we can be focusing more on his work.[00:03:31] And, um, yeah, man. So big up to all the new listeners, um, new and old. Um, I know you out there, um, I know you were listening in, I know you enjoying what you're listening and that's. Fucking great. That's awesome. Thank you for that. Uh, you know, in the past episodes, I was, I was sort of giving you a, um, or rather voicing my opinion about the NAC sitting.[00:03:55] Well, as of the recording of this episode, they are still sitting in, um, and the story this has been growing and growing and growing, uh, once again, I pledged my solidarity to what they are doing there. I absolutely, uh, stand with them in it. In the, um, in their plight, uh, because to be there so long, um, jislaaikit, man, I don't know how you do it.[00:04:14] So, um, and from where I'm sitting in for what I'm following, um, I don't know what the end result is going to be. Um, right now it's not looking very good, but. Yeah, man. I can't be for vein, you know, uh, in previous episodes I was voicing my critique on the, uh, strategy, you know, and like waiting for government.[00:04:36] I'm still with that. Um, and maybe, maybe we'll see if Zolile, um, has something to say about that, but yeah, man, um, I'll be catching you or telling yous about what's happening in future episodes in the outro. So look forward to that. Now, hope you guys enjoyed today's episode and stay tuned for that.[00:05:01] Spudcaster: [00:05:01] baobulb.org is a podcasting platform and a medium for storytelling. This podcast is also available on all the major podcasting apps, including Apple and Google podcasts podcast, your life with baobulb.org.[00:05:20] Wesley Pepper: [00:05:20] Um, alright man, how you doing? My brother? Zolile Petshane: No, I’m good and you? Wesley Pepper: Um, um, well that depends, but mostly I’m okay. Um, yeah, man, um, in my, um, in my intro, And I, um, I, um, I kind of describe you as a, uh, abstract or rather your work as being abstract personally. I think the word, uh, that that's a bit of a loose term so I kind of want to just hold on. Um, so I kind of want us to, um, sort of explore your technique.[00:05:53] You know, um, your body of, um, your, um, your show that starting on the, um, starting in April on the 10th, I think. Um, and, um, yeah, we'll sort of, you know, unpack your entire story, um, you know, but by, but then focus on your processes and your technique and, um, you know, what does it mean? And, um, rather your show and the idea behind the show and all that.[00:06:18] So, um, but before we get into that, but, but, but, um, you started off as a visual as a printmaker, right? Um, just give my listeners just like a, just a very brief on who Zolile petshane is. Where's he from? Where did you study and how did you get into the arts and that type of thing?[00:06:50] Zolile Petshane: [00:06:50] uh, I was born and brought up in a local primary school and a local high school. And then later I went to Vaka where I did my, uh, my art, where I did art history painting as a subject, not as an extra mural activity. And then later I joined APS studied with APS, uh, practice printmaking for what, seven years, and then later[00:07:22] through WITS where I did my advanced diploma in fine art. And after that. Um, yeah, I never, um, yeah, I basically moved from printmaking to painting and painting for, for very long time. Now I think it's more than more than 15 years now. Wesley Pepper: Yeah. Actually, I actually want to unpack that one there because I know you started hello.[00:07:53] Oh, sorry. It just went really quiet. Sorry about that. Um, yeah, I might actually, I wanna, I wanna unpack that, um, your, your process in particular. So, um, I remember you did, uh, um, you didn't, you did a solo show years ago, um, in Braamfontein, I think it was unity gallery where you did, um, Um, if my memory serves me, this was a long time ago, man, but you did it in etching, but it was more graphic based.[00:08:19] So I sort of like know your technique from, from, from there. And I know back then you also doing a lot of those monoprints and if I must look it. Um, because I was looking through the catalog, um, if I must look good from a technical point of view, right. Um, your technique, those monoprints that you used to do at APS.[00:08:36] So this was what, early two thousands, but you'll correct me there. Um, you know, um, I really see, like, you've really become or, uh, you really mastered that and that's like over 20 years. So, um, tell us, how did you get into the technique? You know, what, um, why did you, why. Or rather because, um, because, because this style of work, um, you either can do it or you can’t, you know?[00:09:01] Um, um, so, you know, yeah, yeah, yeah. Um, you went away there for whatever, just yeah, yeah,[00:09:15] yeah. It happens. Um, yeah. And, you know, I complain about, and such a lot in this podcast, you won't believe, man. Um, anyway, um, did you get my last question, uh, as I was asking you about like your technique and sort of way, um, can you explain to the listeners, like where did it start or from, and that whole direction of what I'll sort of unpack it, but like we had started off and like, what was it that pulled you towards, um, um, Um, abstract.[00:09:51] Zolile Petshane: Um, when I started off doing abstract, it was more like an experimental with printmaking where I would use anything that I find interesting. Like the orange, uh, mesh sacks or bags. Yeah.[00:10:14] Yeah. You say this and people think you’re saying something else.[00:10:21] but I would use the orange bags to play around with the, with that texture. How do use different material printers material and to create an artwork. So I I've never used your traditional copper plates, uh, now, um, steel plates to etch and print. So I’d use the, um, the Monotype monoprint make mono print. As an approach to what I wanted to create at the time, because anything that I find interesting I’d use that.[00:10:56] Um, so that's how I. Ventured towards the direction of painting. And then I started mixing print oil pastel with, uh, with monotypes and then eventually that grew into painting and then the printmaking. Yeah, it faded away. So I don't do pretty much if I do a print, it's just that I needed to take a break from painting and just do something completely different.[00:11:28] So, yeah, that's how I went. That that's how that direction to a painting, moved. Um, so I’m more like a DJ that introducing introduces a different sound. Uh, while you play a vinyl A Uh, and they get to vinyl B, but you don't want to bring vinyl B like in your face, but you just. Just, just bring it just a slide.[00:11:56] So that's how I moved to painting. Um, so I just, Wesley Pepper: yeah, sorry, continue. Zolile Petshane: And then speaking of the show that I did with unity gallery, um, those were actually the body of work that I produced and printed at APS[00:12:15] Yes. And then I contributed that. Um, cause at the time I wanted to showcase what I've been doing and what I've been producing. And that is, let me, let me show case what I've done. Uh, uh, uh, put together that is there, the etching Schuler lift and, and line etching, um, points those, all those were the works that I did at that time.[00:12:43] I still have some old, those works. Wesley Pepper: Hmm. Um, yeah, but, uh, yeah,[00:12:53] yeah, no, I, I, you, uh, our, to just ask with technical thing on those lines, because I can actually remember some of the images, uh, and, um, um, it was you looking at your, uh, face on like a spoon and all these types of objects. Um, Funny enough. Uh, this is a bit of insight into, and to why I remember it because I, myself, at that time I was starting a graphic sort of, um, you know, I was starting a drawing project, which eventually became, you know, my publishing company.[00:13:24] And like, I was really, I, um, I saw that graphic type style work. Do you still use that technique, um, of drawing, um, of, um, of line work because looking at your current work? You know? Zolile Petshane: Yeah, I do. I still do that, but now what I do is I use a graphite pencil now add, so that's what I use. I use the etching, which in the works. Speaking of the work,[00:14:01] um, there, the, the wax, how it came about, just moved out from the house that we rented, me and my friends. And then when, while I was in that room, that I rented out I was still trying to feel what is next. And then eventually I just look at this spoon and I saw my portrait. And I thought it would be interesting using a spoon as a mirror. Um,[00:14:29] Wesley Pepper: Um, yeah, it does actually quite, uh, quite an interesting, um, I like to start,[00:14:48] I was going to ask you another technical thing. Um, more based on, um, you calling them paintings. Um, I find that, um, like the definition quite interesting. So explain to me because, um, this is from me just looking at them, right. Not knowing or understanding the processes and I'm talking about the current body of work, the, um, chaotic CBD, um, because I guess I know you, uh, Uh, uh, work with pastels.[00:15:13] So I guess my eye is used to, um, just, I was assuming that they, you know, that the whole thing is well pastels because I know, well, pastels has a very specific texture to it and, and, and, and, um, and the colours are, are very specific. So for the listeners, for my listeners, um, just explain to me. Um, because this body work, um, the majority colour there is white as well, because I know in, in, in, in, in previous work you made reference to the ones, um, those, those texture bottle printers used to do.[00:15:43] Um, actually I recall that as well. Um, they will, they will, they were very rich in colour. Um, and I guess that's one of the things that really draws one up is one, um, or otherwise I can still recall them so well, like the colour was very rich, Zolile Petshane: sorry. You're breaking. Can you repeat the question?[00:16:05] the challenge I have here. let me go inside and see if I can go back to the kitchen. Wesley Pepper: Yeah, yeah. Let's try that. Zolile Petshane: Can you hear me now? Wesley Pepper: I can. I can, I can hear you. Okay. That's actually a little bit better. Um, and it's not that noisy either. Hello. So, yeah, we're having a bit of a technical issue. There's a bit of a breakdown agh there’s abit of delay in the line and yeah, I say, well, shit, man, same old shit.[00:16:36] Um, but just for us, just to repeat the question, I was, um, I was, uh, uh, um, just before the break or before the, um, before the break was that, um, um, I was.. Zolile, you can still hear me right. All right. So, uh, yeah, I was making a reference to, uh, a technical question, um, on your previous work, um, on the, on the painting.[00:17:03] So if I recall, um, your work from like the early two thousands, they were very rich in colour. They add a lot of 'em as well. They were just really rich. Um, I remember a lot of yellow and orange and so on and so on and so on. Uh, and it added really, it was very eye catching and now, um, Uh, the majority is a very light grey sort of, um, uh, white.[00:17:29] So, um, I know with abstract paintings, um, that how you mix the colours and how you use your colours is very important. So I find, I guess, like, just for the listeners, um, just explain to us your, uh, processes behind, um, creating chaotic, CBD, um, with specific reference to the use of colour. Zolile Petshane: With with, with this current issue, um, was exploring the idea and the concept of migration, where people move from one area to the other area in search of your greener pastures and use colours as a representation of that.[00:18:12] Um, I would use a colour as a representation of people. Of different, uh, nationalities moving in one area and yeah, and, and, and some, sometimes some people that are moved into that I would create a area where it represent, um, the idea of being a endangered species. But I I'll try to find an element that says that, but I.[00:18:45] I normally use, um, calculation and using my mathematics that is not a, yeah. I don't know if that the proper mathematician will actually agree with that, but what I make things and trying to, uh, play around with the idea or miscalculating. When you think that you have calculated well and things, when you get to the answer, aish it’s not what you thought the answer is a problem.[00:19:17] So I use colour as a representation or as a language to say something. Um, I used to bring out life, you know, uh, despite the effect that you move to a city aish your life is a mess. Now colour brings out happiness. Colour brings out life. it’s a different season, um, yeah. A different time that we need to. Yeah, forget about that.[00:19:50] the winter season now we on this. Everything has to be vibing. So I, I use such a approach in terms of that colour, even though my works, um, I've never done any black and white painting to the represent that season or winter. Uh, most of the time, these. Wesley Pepper: Hmm. Interesting. Interesting, interesting. Um, another technical question, my brother, based off the, uh, body of work.[00:20:25] Um, are you using any symbols? Um, well you are using but like, um, what are some of the main, because you've got the, um, the body work is quite substantial and they are, and they vary. Um, I see a lot of, um, Um, I would say splash like marks. Um, I see a lot of detail to some buildings and, um, there's some really interesting, uh, um, um, real fine details, which are, which personally I think is actually quite beautiful.[00:20:53] So I guess my question is meant like, um, what does some of these symbols mean? Do some of them have meaning? If so, what? And so on. Zolile Petshane: Well, one of the works I used the pipe that we normally get on the side of the road in, especially in industrial side, um, that the pipe is normally is when there’s a fire, the fire brigades, this that I see that I'll use that to access water. I would use the pyramid.[00:21:22] Um, sometimes in mathematics, there is that sign that looks like a pyramid. Now, there was a time when I started, when I started exploring the concept of numbers, I'll use the pyramid, um, to represent that, uh, I would use the concrete lip, um, to represent a numbering. Cause I don't normally use a lot of numbers in my work sometimes.[00:21:49] I use elements that represent, uh, numbers. Now remember everything that we see around us, uh, the influence of calculation that's of mathematics tells the engineers to tell you that this slab is in, uh, it can last two for more than 20 years. So I would use numbers. Use some of the elements as a representation of numbers or something that revolves around numbers. So I’d use that.[00:22:27] Wesley Pepper: Hmm. Interesting. Interesting, interesting. Um, alright man. So I guess for me, that sort of covers the technical side, right? Um, just a question on your process. So, um, how do you, uh, I guess I should ask this or wait um, before we get to the process, let me first take you a step back to the concept, uh, because I guess once we understand the concept and we can add up, we explain how to interpret, interpreted, because, um, so, um, from what I can understand that, um, through the brief and like through looking at the artwork and listening to you speak now, uh, you have a very critical, uh, or other viewpoint on what's
17 minutes | 23 days ago
Practice the Resurrection - Through Worship
Disclaimer: The views expressed do not reflect the views of baobulb.orgReverend Heidi Petersen delivered this sermon for podcast. It is based on the following scripture readings:Ephensians 5 verses 1 - 2The opening hymn, All Praise To Our Redeeming Lord is performed by the Northallerton Methodist Church Choir. And the closing hymn is by Taize. This podcast is produced as a service to the church community and friends. So visit our Spudcaster page for more. Support us!
22 minutes | 23 days ago
Disclaimer: The views expressed do not reflect the views of Baobulb.orgReverend Kelvin Harris delivered this sermon for podcast. It is based on the following scripture readings:John 20:19-23The podcast is produced as a service to the church community and friends. So visit our Spudcaster page.Support us!
69 minutes | 25 days ago
Disclaimer: The views expressed do not reflect the views of Baobulb.orgErica works in multiple mediums which includes landscape art , Installations , embroidery and textile art.Her frozen damn water or lollipop installations was a brilliant project that spoke to global warming in a strong visual way.We will talk about that and her other projects and artworks.We also look at her influences , processes and perspectives on life , art and the ongoing NAC sit down.Art Lexica is a podcast where Wesley and his guests talk art and art processes. For more podcasts, visit our page.TranscriptWesley Pepper: [00:00:00] Hey everybody, this is Wesley pepper. And you're tuned in to my podcast Wesley Pepper’s Art Lexica, which is brought to you by Spudcaster and Baobulb. Um, yeah, man. Um, just a quick disclaimer. Uh, I've actually been getting my episode numbers around, um, last week was actually episode 47. Today is 48. So we're closing in on the 50th episode.[00:00:35] And as you know, I've got a thingy lined up for that. So, um, that art giveaways I'll, I'll give you guys more information, uh, with regards to that too, at the end of today's episode, uh, Let's just recap quickly on last week’s episode, big up to Zolile Petshane for coming through. Thanks my brother. Um, I, um, I really enjoyed talking to him last week.[00:00:54] Um, unpacking his processes and how is, um, you know, how we use the color and, the texture and those symbols in his work, very, very interesting stuff. I'm definitely gonna be, uh, making a followup with him too, towards the end of the year to catch up on how he's working or rather how the progress is coming on for his, um, and he's got a, he's got another major show coming up in 2022.[00:01:15] So big up. Thanks. Thanks my brother for coming through for that. Um, I'm not giving any gallery a shout out today, but this is usually the slot where I do that, so, uh, um, but, um, yeah, I’m in association with that art company Soweto and obtain art gallery. Yeah. Oh yeah. All those guys in the coming, uh, in the coming. You’ll be hearing more of them in the future, um, today's episode, um, I'm talking to a very, very interesting artist called Erica Luttich.[00:01:51] She's actually I know her from the Johannesburg area, but I think she's now based in the Western Cape. So we will definitely find out about that a bit later. Um, I think she does a really fantastic, um, um, um, um, art. Um, she, she, she works with this embroidery. Um, you know, when you, uh, when you're pretty much use enbroidery as a paint brush, which I think is really, really fascinating, I think that technique is fantastic.[00:02:15] And I think conceptually is also very brilliant talking about conceptual brilliance. She also does these very, very interesting installations, um, including lands, um, of a landscape art. I've I've, I've seen, she's worked in collaboration with a few other artists on that. And, uh, also the one that really stood out sticks out for me is those, um, and I don't know if this is the correct word, but a sort of a lollipop, uh, or rather where she just takes this frozen water from a dam or the ocean, you know, it's all the debris and or whatnot freezes it and sort of uses these, uh, frozen popsicles as a, as, as an installation and the, you know, there's, and then takes photographs that are, and I think the whole concept is quite brilliant.[00:02:55] Um, and I think it really talks very strongly to, uh, global warming, et cetera. So, uh, we're going to be touching base on with all of that, with our processes, with where she draws inspiration from what should we be doing now, future projects, et cetera, et cetera. So definitely look forward to that. Um, yeah, I mean, um, I've been, um, in the past episodes I was, I was talking a lot about, about the, about those artists sitting in the national arts council sit-in.[00:03:20] Um, as at the recording of this episode on the 17th. Um, of April that they are still there. Um, so I'm still definitely in solidarity with what's happening over there. I'm definitely keeping a close eye on the, uh, pros, um, on the, um, what's happening in and around there. Cause there's a few things that came out this week.[00:03:41] Um, I won't be talking about that in the intro. Um, I'll be asking Erica her opinion on that as well. I know she's got a bit of a, a strong political bone too. Um, and seeing what she has to what’s her take on that. And of course, you know, like I'm asking all of my guests, how are they, what's their reaction to the COVID vaccine?[00:03:58] Because the thing is with the politics around that it's becoming more and more and more layered. And I think it's actually quite relevant for us to keep talking about it. So. I hope you guys enjoyed today's episode. I will check to use at the end of this episode, with regards to future episodes and all the other fun things that remember to check out Spudcaster.[00:04:18] They're the guys that host me that the thing you're doing a fantastic job. Thanks for that a lot guys. And, um, no mention of any art galleries or any other bodies kind of associated with that this week. But, um, certainly next week I will be giving one or two. Um, I will be giving one of them a shout out or a mention, yeah, I think that's the technical word for that.[00:04:40] Uh, so yeah, stay tuned for today's episode. I hope you will enjoy what I have to offer for you guys today. And I'll check you’s at the end of this. [00:04:53] Spudcaster: [00:04:53] baobulb.org is a podcasting platform and a medium for storytelling. This podcast is also available on all the major podcasting apps, including Apple and Google podcasts, podcasts your life with baobulb.org.[00:05:12] Wesley Pepper: [00:05:12] Well, okay. Thanks all for coming through. Um, fantastic to have you on this platform. Um, like I was saying early on a big fan of the work or the artworks, I want to unpack that thing sort of bit by bit and we'll touch also on the, uh, on the politics of the ongoing politics that's happening in the arts, which is both heartbreaking and I think quite a slap, um, not a slap.[00:05:38] I just think it's, um, uh, what, um, it was expected to be, to be quite honest. Um, but, um, Yeah. We'll um, unpack that one. So, um, yeah, I mean, Erica, just for my, uh, listeners. For the people's listening to the show. Uh, can you give us like a brief, just give us like a very brief background.[00:06:05] Um, I'm like, uh, where you from? Um, and, um, more so, um, because, you know, we want to talk about the art and the art process. And so I'm like, you know, just maybe a bit of background of your, um, history in the arts, you know, um, even where did you study and that type of thing and so on and so on. [00:06:27] Erica Luttich: [00:06:27] Okay.[00:06:27] Thank you so much. It's so nice to actually chat to you. And it's been such a long time. Wesley Pepper: It's been too long. Erica Luttich: Yeah. Thank you. Um, so yeah, I was eight years old when a school teacher told my parents the unfortunate news “dat die kind kan teken” (the child can draw). And those words was profoundly hard for my parents who had, um, other ideals for their offspring and I then ended up, um, after matric in the Cape, uh, Ruth Prowse School of Art in Woodstock, which was.[00:07:05] An amazing experience here. I was 17 years old and all of a sudden, um, we're studying and we're with people of this country. I wasn't in just the white school anymore. So I'm talking 1981, 1982. Those were long, long years ago. And it opened my eyes to so many things and it was an incredible learning curve, which I'm most grateful for.[00:07:32] Um, later on I, um, studied through UniSA because, um, it was really too expensive to study full time. Um, and then again, sort of had to be confronted with the fact that. We were 400 of us in first year and only 15 people graduated of the eight, nine years, I think, and of that, our need to people who are people of color or were black people.[00:08:05] And again, it just shocked me. And, and I remember so clearly being in a first year class with these incredibly intelligent academic people addressing us about art history. And I would sit in a row with, it would be young students, um, much younger than ours at the time. And they've never heard of the artists.[00:08:30] These academics would just be reeling off. And I, and I remember sitting in a row and writing down the artist's names and they were all European. Of course they were never of this continent. They were never people that we might live with or know, or have any experienced with. And those are the things that have stayed with me.[00:08:53] And I think you've met me much later in my life when you were working in Hillbrow. And I'd like to start my conversation with that. I think creativity needs to be part of every educational tool. And that creativity is the only way that we can redeem ourselves and our humanity on this earth. And that those were some of the principles in my life, but also.[00:09:23] That I was confronted with that incredible inequality. And that's why I think for me, my time in Hillbrow was so important because it was a way that I could share and could experience and could learn, um, about creativity in a very, very different context. Wesley Pepper: Um, yeah. Yeah. Interesting. Interesting. You're raising some really fascinating points there.[00:09:53] Um, um, just to touch base on two of them quickly, um, The fact that you have so many students who are beginning and only so few, um, um, eventually passed and the majority of black, I've got a very, very similar thing because I started in the, in the late nineties, in the mid nineties in Bloemfontein. And, uh, yeah, I was the only coloured boy.[00:10:16] Um, um, the, um, so I had to, I realised from what I was like 17, 18, something like at 19, something like that, 20, um, I realised, um, from then it has a profound effect on my art up til today is my identity crisis because even then, I didn't know where to fit in, um, and that sort of just conceptualise into what I am today, you know?[00:10:41] Um, so I think as a fascinating point to say, like some of us, okay. You were about 10 years before me, but, um, um, around about that time, guys were people artists, who are in these institutions, our identity really got shaped, um, by the politics of that, then we had absolutely nothing to do with, we just pitched up and then yeah, the politics has shaped everything.[00:11:01] That's actually quite, that's actually quite an interesting point to start off with. Um, you mentioned, you mentioned something with outreach foundation, so that's where I met you. Right. So working in the overall, so, um, just for the listeners and just tell us like, uh, what exactly what you're doing there, because I know the outreach foundation also funded a lot of, uh, theater based, uh, art projects and so on and so on.[00:11:20] So yeah, also, maybe just a few. Yeah. You can just tell us a little bit about the outreach foundation and are you still involved with it? Erica Luttich: No, I'm not, I left two years ago, um, at a time when the organization decided that creativity and arts education is not the route to go. Um, so we separated ways, which was at the time, very hard for me, but just to go back with outreach foundation started as a project of the church of the Lutheran church and, um, Edith Cavell street.[00:11:53] And they started with the organist at the time of the church, um, starting music classes for children who were living in the area and that very quickly expanded to a theater project. So the music school and the theater project were the first two projects that started. And then sort of in 2001, there was a discussion about a sewing class or bringing together mothers to[00:12:18] sew. Now again, you know, that that, that again is just, um, Yeah. Perceptions of people that if you give a couple of women sewing machines it will change their lives and they will income generate automatically. So I was in sort of called upon if I'd like to start once a week just to offer creative classes.[00:12:45] Um, at the time I was working at the Sharpeville library, um, and that was 170 kilometers away from home. And. Here I was in Hillbrow I thought, Oh, this is just 10 kilometers away. This is fantastic. I can do this much more often than driving all the way to Sharpeville. That was a unique project at the time with the department of arts and culture.[00:13:09] And so I thought absolutely! Hillbrow’s perfect. It's close to home. And started once a week, just offering sort of thinking about where do we live, where we are, what's our identity and why do we live in Hillbrow? And just the short anecdote of that was that people kept saying, Oh, you must make the big five and you must draw elephants and draw rhinos and draw whatever animal Buffalo.[00:13:38] And I kept saying to the women that I was working with, when I look out of the window, I don't see a rhinoceros. And how are we true about live your own experience and then draw on something that's not around. And then one of the women did the most beautiful embroidery, it was a building and you could see the staircase.[00:14:06] It was all beautifully embroidered and on top was a washing line. And I thought, that's it. This is Hillbrow. And we talked about that. This is Hillbrow for me. This is how I see Hillbrow. And then the women said to me, but you don't understand. We don't want people to know that we live here because if you live in Hillbrow, you've not, you haven’t made it in life.[00:14:32] You are not, not something it's a failure to end up in hell. We started about talking about your reality, my reality, what do you live? How do you live instead of this incredible highfalutin idea of what art is, which is rhinoceroses and giraffes, because that's the whole tourist Curio art thing. And people kept saying, this is what you should be producing because you'll make money.[00:15:02] And I kept thinking. You can't produce something. If it's not your own experience, you can't express yourself creatively, if that is not how you live. Um, so we started the craft development. We moved away from just the sewing. And then, um, through the years I added the whole idea of visual art and linking the theater and the craft together so that we could also start producing, working with the theater production, doing the costumes, props and just my big thing in life that the arts is the arts whether you are a poet or a writer, a musician.[00:15:46] we should just work together. Wesley Pepper: Yeah, no, no, just like a hundred percent. Um, I agree with it. Um, um, a percent, I, I, I use the arts as a blanket term for every form of creative expression myself. Um, so interesting, interesting, interesting, um, interesting point you made there about, um, being based in Hillbrow, but I mean, like you haven't made it for sure.[00:16:11] I've, I've picked that up, um, myself, um, and, um, to say like visit me in Hillbrow was not, you know, if you say that people generally won't come, you know, um, and yeah, yeah. The stigma around that place is next level. Um, I, uh, yeah, I've also also quite an interesting point about the big five. Um, um, yeah, I can relate to that too, actually, that, unless it take me to another topic, which I think is actually for another conversation, because I just think it's terrible.[00:16:44] Um, I just, I just think I. Fucking don't like drawing an animal, especially the Big five. Um, um, hello, you still there? Erica Luttich: Yes. I agree with you. I agree. Wesley Pepper: Yeah, I remember that. Um, just a quick story there. I remember this was in the early two thousands. I was at a gallery in, uh and, um, I came there with poor images of people in the street doing drugs taking tik and that stuff.[00:17:12] Cause I sort of knew that reality better than any, and that this lady gave it one look and she said like, you know what? I must go back and draw animals. And, um, I knew that from the art game was going to be. A lot tougher than I thought. And it was otherwise because I, um, and, and, and funny enough, like if, if, if you look at it today, the majority, um, it's, it's like some artists have substituted, um, the animals for portraits and not just any portraits, but like, you know, the helpless African child will fly on her cheek who[00:17:44] can't do anything. Yeah. Yeah. Poverty porn. Yeah. It's fucking disgusting. I can't stand it. Um, And, um, I wanna, I must actually watch my mouth because I want to lean into that over there so bad. But, um, the, I know some people that enjoy it. Um, it's also part why, I think it's important to talk about art because, um, yeah, it's poverty porn.[00:18:09] Um, you don't get better dinges and I just think it's disgusting. And I said, as Africans got so much, we are so more like yet we are so much more than just a barefoot kid kicking a broken soccer ball in the street, dusty street and this and that. And that's a blanket term for everyone because the poets deal with the same thing the writers deal with the same thing.[00:18:27] Right. Is the, will the same thing, that theater practitioners, everybody. Um, yeah. Uh, um, yeah man, um, the outreach foundation, um, Interesting, um, thing that, especially, like, when you say that you just started to do more props for theater, I think that's a actually quite a bit, I didn't know how it started and how it moved.[00:18:47] That was, um, just another closing question on them. Um, what are they busy doing now and how did COVID, um, affect them, you know, and what, um, I guess like what work or projects are they, are they, are they busy with right now? Do you know? Erica Luttich: Um, I know a little bit, um, because when I left, I kind of decided it was best to kind of really cut all ties.[00:19:14] And the reason for that, or was that I was always very big on the creative process. And the reason for my being there was that creativity needed to be extended to all spheres of life. And although I concentrated a lot more on adult arts education, I also believed very, very strongly in both the theater and the music school and the opportunities that creates.[00:19:40] Um, and when that was all severed, the, the theater was actually rented art and it was separated art from the outreach foundation. Um, I was told that we will only be doing sewing and sewing classes. There will be no more creativity, no more land art, no more textile art. I kind of just felt that I can't support that.[00:20:04] And the music school is also being cut back dramatically. So I'm incredibly sad about it because...
52 minutes | a month ago
KUNGANI Group Exhibition
Disclaimer: The views expressed do not reflect those of baobulb.orgWesley Pepper chats to Dipou Sithole, co-owner of Obtain Art Gallery about their recent group exhibition: KUNGANI.Art Lexica is a podcast where we talk art and art processes. Follow this Apple rated podcast for more details.
23 minutes | a month ago
Walking in the Light
Disclaimer: The views expressed do not reflect the policy of baobulb.orgPhilip Bacchioni delivered this sermon for podcast. It is based on the following scripture readings:Genesis 1: 27Ephesians 5: 6-17This podcast is produced as a service to the church community and friends. So visit our Spudcaster page for more. Support us!
33 minutes | a month ago
I Have Looked Myself Out
Disclaimer: The views expressed do not reflect those of baobulb.orgReverend Kelvin Harris delivered this sermon for podcast. It is based on the following scripture readings:Isaiah 53: 3-9Matthew 16: 13-20Matthew 26: 69-75Matthew 26: 59-68The podcast is produced as a service to the church community and friends. So visit our Spudcaster page.Support us!
42 minutes | a month ago
Disclaimer: The views expressed do not reflect the policy of baobulb.org.Poet/Performance Artist, Philani A Nyoni unpacks his criticism of award shows in his home country Zimbabwe. This is his opinion piece. Philani A. NyoniFor more podcasts visit our Spudcaster page. Take the Poll.SocialsFacebookImportantly, Wesley set up this podcast as a platform. To talk art, processes and the politics of art and activism. For more podcasts, head over to our website. Or view this episode in your favourite app. Special thanks to Chris Morrow 4 for the theme music.Support us!
62 minutes | a month ago
Disclaimer: The views expressed do not reflect the policy of baobulb.orgIn this masterclass, Wesley Pepper tackles cryptocurrency and the potential for artists/creative industry. Entrepreneur, Morris Nolan sits in as somewhat of an expert on this technology. And Aleta Armstrong joins in the conversation from YEBO! Art Gallery, Eswatini.This is a follow up to the cryptocurrency episode we did earlier this year. In that episode we did an overview of bitcoin and how to use it. In this episode, we take a deeper look at it's potential applications within the art industry.For more podcasts visit our Spudcaster page. Or listen to this episode on the magic link. Support us!
38 minutes | a month ago
Disclaimer: The views expressed do not reflect those of baobulb.orgWesley Pepper sits down with Khulekani Msweli (Artist/Designer/Social Entrepreneur). We unpack his technique and art processes. This is ahead of his forthcoming show at YEBO! Contemporary Art Gallery, Eswatini in May. His work will also be featured in the Seychelles Biennial. They're both exhibiting their work at YEBO! Gallery over the coming months, under a similar theme.Art Lexica is a show where we talk art and art processes. SocialsFacebookIG
40 minutes | a month ago
Featuring Thato Rakgotho
Wesley Pepper sits down with textile artist, Thato Rakgotho. He paints and redesigns t-shirts, sneakers and caps. Art Lexica is a show where we talk art and art processes.
18 minutes | 2 months ago
Disclaimer: The views expressed do not reflect the policy of baobulb.org Reverend Kelvin Harris delivered this sermon for podcast. It is based on the following scripture readings: Luke 19: 28-44 The podcast is produced as a service to the church community and friends. So visit our Spudcaster page. Support us!
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