A little more about the works
Each of Elisia Nghidishange’s ceramics exist as both sculpture and object of utility. In them we see the art/craft tension dissolve, as the works seamlessly draw from traditional processes and motifs to create objects that are thoroughly contemporary. Nghidishange’s works are often humorous and critical, casting a wry eye over the contexts in which she works. She explains, “I have always used and been inspired by the materials that have been part of my life since childhood.”
While Nghidishange’s media is varied, her artistic process draws from a common inspiration. These ceramics, like her prints and papiermaché sculptures, are grounded in an exploration of traditional Oshiwambo materials and motifs. Nghidishange has played with and adapted these techniques and styles to create objects that in their wholeness, beg to be held and examined from all sides.
The motif of cow horns is found across Nghidishange’s work and is referenced strongly in this ceramic series. She uses this shape because it is a signifier of the importance of cows in Oshiwambo culture. It is a symbol of both wealth and power and is used to question and challenge the very thing it references. However, her point is made carefully, even lovingly, as the horns are married with the clay serving as a vessel and a conceptual challenge to power.
This is how the raffle worked:
It's super simple:
There are 22 tickets available and 22 prizes (20 ARTWORKS and 2 MYSTERY BOXES). You get to pick which work you want, but the raffle decides who picks first. We draw the tickets one at a time to determine the order of pickage.
Here's where it gets a little more complicated:
We sell the tickets in two batches, lets call them gold tickets and silver tickets. GOLD tickets - only 10 available N$ 400.
SILVER tickets - 12 available N$ 350. We draw Gold tickets first and then the Silver.
The mystery boxes go to the last two people whose names get drawn (we've always had a soft spot for the underdogs).