The Crying in Public series best encapsulates his fascination for sharing personal expression in the public realm - and its function in art. In some works it appears as if the artist’s tears have coalesced with the paint, causing the image to distort. In other works single colours, swirls or blobs of colour represent weeping, implying that the artist can only really expose the final product of pain rather than the emotion. How do you depict an emotion?
This line between the public and the private will be given new meaning when it is paraded on taxis. One of the benefits of this annual competition, now into its third year, is that it allows for art to truly enter the public domain. It is interesting to observe that Khoza addresses notions of a collective identity in his winning work for the SA Taxi Award, when in a gallery show he delves into hyper-private space, where he makes clear his sexuality. Is this a reflection of his perception of the taxi-using public, whom he differentiates from the gallery-goer? This is what makes the SA Taxi Award an interesting initiative; it forces viewers, artists to consider a collective consciousness. Khoza’s obsession with identity politics in the virtual realm perhaps makes him the ideal artist to meditate on this in reality.
Sponsored text. SA Taxi Art Award exhibition is showing at the Lizamore Gallery. Corrigall is an art consultant www.corrigall.org