PHILISA ZIBI
Jeweller
A graphic sensibility and carefully
practiced eye for interesting metal
combinations have put Philisa Zibi’s
Ma’art Jewellery line on the map,
with it featuring on major creative
platforms around the world including
International Jewellery London.
Zibi made her mark on the creative
scene with a range of silver spoons she
created for The Collection Studio in
Port Elizabeth, and was one of Design
Indaba’s Emerging Creatives in 2013.
Now she’s producing covetable jewellery
in between completing a degree in
Jewellery Design and Manufacture
at the University of Johannesburg.
‘Craft is critical in my practice,’
Zibi says, adding that she explores her
past and the skills passed down to her
through generations in her work. ‘To
me, great art is enhanced by the skill of
craft, which is why I’m always learning
new techniques and strengthening
those I already know. Craft has its roots
in indigenous cultures: it depicts rituals,
practices and technical advancements
that have been developed by societies
throughout centuries. Through craft,
my work displays some of these ancient
remnants and draws people closer
to them.’ maartjewellery.com
ZANOXOLO MGQEKU
Ceramicist
The rapid global industrialisation of
developing economies is escalating the
loss of ancient crafts, and the beautiful
art of sand-cast ceramics is one of
the worst affected, with only a few
living artisans practicing the historic
technique. But with his work, 32-year-
old Zanoxolo Mgqeku is making sure
that the secrets and lessons of sand-cast
ceramics survive the ravages of time.
Mgqeku uses traditional methods
to create his vessels, but combines
the almost archaeological sand-cast
textures with contemporary glazes and
markings. As well as developing his own
line of ceramics, Mgqeku is studying at
the Central University of Technology in
Bloemfontein, and hosting workshops
around the country to teach more people
about the craft of sand-cast ceramics.
‘The fundamental phases of my
process involve physically handling
materials like sand and clay in such
a way that the final piece is affected by
a conversation around cultural objects
as tangible heritage or “unclassified
fossils”,’ Mgqeku says. ‘These pieces, in
their weathered, post-biotic condition,
can start dialogues on global issues, such
as climate change and industrialisation.’
sylver_art_constant
ROXANNE FERREIRA
Interior designer
For Roxanne Ferreira of Arrange
Studio, there’s no project so big that it
can’t be drawn by hand – at least at first.
‘I’ve always preferred hand and
analog work over digital, even when
this isn’t always the most time-efficient
option – like when you’ve been working
on a handdrawn plan through the
night, only to have the Tipp-Ex explode
over your almost-done layout,’ says
the interior designer. ‘For me, there’s
something about the handdrawn that
no program or app will ever come close
to replacing. And besides, who can
resist the feel of beautiful paper or the
lure of a well-stocked stationery store?’
Even though Arrange Studio is just
over three years old, it’s already showing
the scope of Ferreira’s unique approach
to interior design, where local creativity
is the star of the show, and colour
is used intelligently in the process.
‘People think that all I do is buy nice
things, but the reality sees me role-
playing a lighting layout with dinner
plates on my living room floor; using
a headlight to mark out a pitch-black
building site; combing a beachfront
in search of driftwood to make an
emergency chandelier... it never ends!’
she says. arrangestudio.co.za
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