MICK RAUBENHEIMER’S Round Corners mini-interviews situate artists outside their given media, while exploring their particular experience of the artistic. He spoke to playwright and wordsmith LOUIS ROUX about frozen seas and the theatricality of art.
When did you first identify as a creative artist?
I’ve been writing since childhood. I guess I’ve never wanted to be anything other than an artist. But it’s only this year that I’m beginning to feel like I’m finding my feet, or my voice. I’m a bit of a slow learner.
Outside of your medium, what branch of art most stimulates you?
It’s difficult for me to think of any medium that is ‘outside’ of theatre, but I’d have to say visual arts and music.
Which artist/s in said discipline have significantly inspired you, and why?
There are too many! In art: Francis Bacon for his viscerality, William Kentridge for his versatility, Jean-Michel Basquiat for his hustle and his ‘naive’ eye, Jeff Koons for fun, Ai Weiwei for his fearlessness, Marina Abrimovic for a whole other kind of fearlessness, Joe Dog and Conradski for blowing my young mind and giving me years of material and food for thought – the list goes on for years.
In music there’s Tom Waits for beautiful ugliness, Amanda Palmer just for being Amanda Palmer, Death Grips for brutality that masks complexity, Joy Division, The Smiths, Radiohead and Nirvana for getting me through my teenage years, Regina Spektor and Joanna Newsom for weird songwriting and weird singing.
Some currently inspiring faves are Against Me!’s Transgender Dysphoria Blues, The Mountain Goats’ Goths album, and anything by Brockhampton.
What, to you, is art’s most important function?
To echo Kafka: “I think we ought to read only the kind of books that wound or stab us. A book must be the axe for the frozen sea within us.” I think the same can be said of any art.
Local creatives (in any medium) that currently excite you?
Abri de Swardt is an incredible talent, and the work that I’ve seen is amazingly subversive, beautifully ironic.
Lady Skollie is also obviously killing the game right now.
Wessel Pretorius is making theatre of a quality – and at a pace – unheard of. How does he do it?
Bianca Brand is making some of the coolest prints I’ve ever seen.
Koleka Putuma works word magic, and Bibi Slippers’ Fotostaatmasjien is absolute genius.
What specific work – be it in literature, music, or visual art – do you return to again and again, and why?
No matter how hard I try to get into Literary Greats, I always end up rereading Terry Pratchett. He might be one of the most underrated authors of the 20th century, especially in the critical and academic worlds. He has heart, and wit, and characters like no other.
Any current project you’re unveiling/wrapping up?
I helped to write ‘Piekniek by Mpande née Dingaan’, directed by the incomparable Wolf Britz. It recently finished its run, but we’re hoping to keep it alive so keep your eyes peeled! I’m currently working with the very talented and hardworking artists of The Loft Puppet Company, making a really interesting show for next year’s Woordfees.
I’m also still working on ‘Los Asseblief ‘n Boodskap’ which debuted at Aardklop this year. It’ll be hitting the stage in Pretoria early February, so that’s one to look forward to.
Who: Louis Roux
WS
