Athi-Patra Ruga’s latest exhibition, ‘Interior/Exterior/ Dramatis Personae’, takes his characters on transformative journeys
as it unfolded and also the lightwork that is in the sculptural works. My film work is also very much about colour: lighting and strobe lighting — that bombardment or clusterfuck has always been there. But this time I wanted it to further this idea of memorialising. I did it through tapestry — a very medieval thing. I did it through large-scale sculpture, which was tactile. I did one of Simon Nkoli. I did one of Feral Benga.
What has been your journey to mastery of the medium? Do you take it from the beginning of the idea to the end of the production process, or are you collaborating with people with a longer history of working with glass? Swazi Youth After is a continuation of a 20-year long conversation with Irma Stern that also references queer subcultures
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