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In Over the Rainbow Ruga satirically references the end of the new South African honeymoon period and alludes to existing racial and social tensions that have been sugar-coated by ‘rainbowism’ in lieu of true societal transformation. His disenchantment also extends more specifically to the positioning of black artists in reference to the western gaze; a motif he plays with through the use of campy dressing room theatrics in which role-play, masquerade and critique are cleverly rolled into one. Mouthing the words to the iconic South African pop song Weekend Special by Music legend Brenda Fassie, Ruga laments the fickle affections of a lover, that are one-sided and bestowed only when convenient – a metaphor for the creative exchange with Africa, for the most part conducted according to the whims and for the satisfaction of western desire.
Athi-Patra Ruga is one of the few artists working in South Africa today whose work has adopted the trope of myth as a contemporary response to the post-apartheid era. Ruga creates alternative identities and uses these avatars as a way to parody and critique the existing political and social status quo. Ruga’s artistic approach of creating myths and alternate realities is in some way an attempt to view the traumas of the last 200 years of colonial history from a place of detachment – at a farsighted distance where wounds can be contemplated outside of personalized grief and subjective defensiveness. The philosophical allure and allegorical value of utopia has been central to Ruga’s practice. His construction of a mythical metaverse populated by characters which he has created and depicted in his work have allowed Ruga to create an interesting space of self-reflexivity in which political, cultural and social systems can be critiqued and parodied.
Last update: October 20th, 2019.