In the studio with… Sivan Zeffertt
February 2024
Colour Field (2022), Detail. © SMAC Gallery
Sivan Zeffertt (b. 1992, Johannesburg) is a textile artist based in Cape Town. Having studied architecture before moving to art practice, she has been exploring ways to create spatial interventions in handwoven cloth. Her work has dealt broadly with themes of space and landscape, memory through texture, and a decontextualisation of the understanding of cloth towards art object and sculpture within space. Her latest solo exhibition, Depth Perception, was shown by Smac Gallery in Cape Town in 2022. Zeffertt has recently completed a month-long residency at Oude Leeskamer in Stellenbosch.
What is the one thing you look forward to in the art world in 2024 and why?
I have had a small hiatus from my studio practice, and I am looking forward to easing back into my studio and realising ideas that have been simmering for a long time. Because weaving is such a slow practice, I often think of multiple ideas for coming pieces while I’m working on a current piece, and so the ideas grow exponentially and wait until the right time to materialise. I have been working on a few large pieces that aren’t yet, but now they need their time to sit and incubate while I start on new works (of old ideas).
What are you working on right now?
I’m currently starting a few new projects, which aren’t far along enough to be able to speak about properly.
Who or what inspires you?
At the moment, I’m very inspired by the intersection between weaving and language. Text, textile and texture share a linguistic root, and I’m really enjoying the idea of a non-word-based language of cloth, and codes that can be read and understood in and through weaving. I have been listening to a lot of authors and poets speaking about their work, and I really enjoy the parallels between storytelling and object making.
Here, Come From Elsewhere (2023), Detail. © SMAC Gallery
If you could choose to have an artwork what would it be and why?
Anni Albers’ wall hanging With Verticals (1946). I could look at this piece every day for the rest of my life and find something new to appreciate in it.
Everyone loves a recommendation, which book do you suggest we read
I’ve been reading a lot of science-based creative non-fiction. Two favourites are The Living Mountain by Nan Shephard and Braiding Sweetgrass by Robin Wall-Kimmerer. Both of these explore different relationships to the natural world and are poetic without being overly flowery.
What would you like people to know about your art?
My practice is very slow, and pieces are woven entirely by hand by me. My work is very private and quiet, and I can’t think of the labour of making art as “production”.
Can you give us a glimpse of what is next for you?
As I said before, I’m hoping to realise a few projects that I have been sitting on for a long time. I don’t have any set exhibitions, but I’m hoping that the work will become what it needs to be, and then find its place.
