More Artwork by Dada Khanysia
Dada Khanyisa is a Joburg raised and Cape Town based artist who has recently graduated fromUCT’s Michaelis School.
“My visual interests are invested in texture and multiple dimensions; as a result I create sculptural paintings and relatable objects. The visuals I create are centered on people and the activities and habits they adopt to keep themselves busy, fed, warm and happy. My focus on the human condition stems from the various spaces I have called home; the different spaces create a multi-faceted diagram of my reality. With my roots in Rural KZN, stem in Johustleburg and branches in Cape Town, I am informed of the various life forms and ways of life. I understand that I have to greet strangers in rural KZN, keep my phone guarded while in central Jozi and ask a white mate to call the agent if I am looking for accommodation in Cape Town. Most of the work I produce is about the black experience, the weight of the content is based on the currency of memories. I enjoy focusing on what people neglect or take for granted- their daily tasks and what was part of their growing experience. The work acts as a social mirror with some distortions which are fueled by the imagination and a particular agenda. The aim is to educate black people on how to appreciate art, the way that they feel they should and not as dictated by a text book.
Understanding that life comes in various forms has taught me to manipulate, juxtapose and play with different materials. I paint as much as I sculpt and draw twice as much as I illustrate digitally. My extensive portfolio has creative items ranging from miniature footwear models, reconstructed custom sneakers, porcelain ﬁgurines and even a bicycle made from ice cream sticks. The sneaker side of my trade pays homage to subcultures that keep me on my feet and my money out of the savings account. Through the mini shoes and customizing, I have maintained a fruitful relationship with the people at Nike South Africa, occasionally working on their campaigns.” – Dada Khanyisa, 2016