Endowed in perpetuity by the Glenna Luschei Fund for Excellence

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Sedireng Olehile Mothibatsela

Artist Bio

Sedireng Mothibatsela

Sedireng Mothibatsela was born and raised in Botswana. Her art career began, quite by mistake, in 1994 after selling her first pencil portrait, and in spite of the forecast hardships of the life of an artist, she later decided to become a freelance Fine Artist. She won a scholarship to attend The Maryland Institute, College of Art in 1997 where she attained an Honours, Bachelors degree in General Fine Arts.

Her choice to major in General Fine arts is an attest to her diverse approach to image making. Although she had a drawing background, she feels that her exposure to relief printing, fiber techniques and ceramics, along with the traditional disciplines in drawing and painting, were able to make her images warmer and more accessible.

She has been working as a freelance fine artist since the sale of that first drawing in 1994 in Gaborone. She has shown in solo and group exhibitions in, Botswana, South Africa and the USA. She has worked on corporate commissions in Botswana and is part of private and commissioned collections in Botswana, South Africa and the USA.

Sedireng currently works as an Art teacher at Maru a Pula High School, since 2002, and tutors young aspiring children in her studio. She works closely through workshops, private sessions and collaborative exhibitions with other artists alongside her teaching.

Her future dream is to own a gallery in Botswana which will inspire artists to get involved in international discourse in the Arts.

Grahamstown 035My Word 023INKABA...
...belly button... ...I find emotional serenity... ...relying on the emotional… ...formal... ...and associative resonances... ...of each material... ...to express each form's potential... ...homes... ...nests... ...safe spaces... ...a pregnant belly... ...homes... ...nests... …safe spaces... ...a pregnant belly... ...INKABA INKABA

I use a wide diversity of media in my work, relying on the emotional, formal, and associative resonance of each material to express each form’s potential. Twine for a basket-sculpture, ceramic for an abstract vessel, linen as a support for painting and embroidery, and sand as pigmentation and surface texture. I am very simple in imaging, but not minimalist. I will continue working with these forms for as long as I need to, and to explore other ways to make new ones come forth because through this process of making and investigating I find emotional serenity.
 
Grahamstown 035 is an untitled, charcoal piece. It was part of an exhibition that went to Grahamstown, South Africa, that was about a poem I wrote about my late grandmother and the loss of roots.
 
The basket-sculpture is part of an installation called INKABA, a belly button. It was part of a show about homes, nests, safe spaces, and belonging. It is handmade and woven with twine, wrapped around a paper twist core. The paper twist looks like rope but is made entirely of paper.
 
My Word 023 is an abstract minimalist piece of art related to the idea of safe spaces. I have been told it resembles a pregnant belly.