Front Row with Sagwadi Mohlabi

Photography by @ukotinii

Front Row with Sagwadi Mohlabi

Our next blog interviewee—22 year old self-taught textile artist Sagwadi Mohlabi—is a prime example of why we do what we do at FRM. Inspired by "the richness in the lineages of black womanhood and how majority of the layers involved are ones that involve praise, celebration, faith and intense confidence in the unknown"—I am left in constant awe at how she manages to intertwine artistic mediums in order to translate her unique message.

Tea party (2024)

Joy as an act of resistance. I feel as if this is a strong ever-present element within Sagwadi's messaging. And textiles are primarily the driver through which she chooses to continue innovating—a decision whcih was heavily shaped by her maternal grandmother and witnessing her create beautifully colourful Xibhelanis (A Tsonga traditional skirt) for her grandchildren using strands of striking coloured yarn.

So join us on this FRM voyage through Sagwadi's universe as we discuss the integration of her Xitsonga culture into her art, the importance of platforms like The Dealr for emerging African artists, accessibility as an artists, and more.

My time is now (2025)

Would you mind telling us who you are and give a short description of what you do?

SM: My name is Sagwadi Mohlabi. I am a 22 year old self-taught textile artist that explores tapestry  making through punch needling as a way of praising intentional moulding exhibited by black women to maximise and celebrate their existence and realities.

The sun always rises (2024)

What is the message you want to share within your work, something that you continue to shed light upon?

SM: My work aims to shed light on the permanent dance that is the deserved preservation of black  women. My work admires the richness in the lineages of black womanhood and how majority of the layers involved are ones that involve praise, celebration, faith and intense confidence in the unknown—although in the constant presence of deliberate deprivation. Through the incorporation of grounding and striking colour palettes alongside a studied present-time culture—the linkage between previous and current generations is emphasised—concluding towards an unceasing ode to oppress the oppressors and liberate the oppressed.

My time is now (2025)

Do you think tunnel vision is necessary within your craft or is it important in creating to keep a broad perspective?

SM: A blend of both for sure. Within the process of creating itself, keeping a broad perspective creates  more accommodation for learning, fluidity and overall progression in one’s practice. Even though I begin most of my projects with a set idea of what I would want the final project to exhibit—I enjoy allowing the piece to take me where it needs to as I weave it. There also remains so much room for inspiration and learned revelations as one creates. However—keeping somewhat of a tunnel vision in terms of remaining true to the intended aim and teaching within my craft remains vital.

Where has your relationship with textile use begun and its power in conveying your message?

SM: I have always been fascinated by the ability of textile to remain in memory. Both visually and  physical/tactile. That is a form of immortalization of those who came before me and all the manners that their resistance allows for my deserved boldness today. I grew up witnessing beautiful craftsmanship by my maternal grandmother. How she would innovatively create colourful Xibhelanis (A Tsonga traditional skirt) for her grandchildren using strands of striking coloured yarn. These same pieces of handmade art would be worn by us as the grandchildren to dance trendy and upbeat Xitsonga music. The use of this cultural overlay by her who spent a generous amount of time in making, to celebrate, reminisce, create long lasting memories, to bond and express through dance is a poetic transfer that has heavily influenced my relationship with textile use and what I aim to convey through it.

Rejoice (2024)

I believe tapestries are a form of art that hold a great permeance, it captures the essence of generations both visually and in texture. How important is the sensory experience in your creative process, and how do you engage the senses in your work?

SM: Sensory incorporation and exploration in my work is very crucial. In addition to its permanence and connection to previous lineages as you have stated, the visually smooth, levelled perception and physical feel that punch needling produces expands on the element of restful anchoring birthed by faith, abiding and confidence in the unknown. Within the dance and bold coloured symbolism remains an intense practice of reliance and trust on what we do not have the ability to perceive. Rejoice and jubilation do not mean that fear and wavering are absent, but that these will always guide us back to the rested truth that is all that we continue to strive for will be ours. This is guaranteed through the continuation and passing on of our existence, serving as reason to remain in a confident way of being and existence as a black woman.

Blooming together (2023)

Have you considered the importance of accessibility in creation and its impact in your craft?

SM: I think accessibility as an artist is always a tricky concept to navigate. Among ourselves as  emerging artists who yearn to own the work of another but are not in a financially accommodating state, I am glad measures such as exchanges exist to contribute to the distribution and ownership of my work by those who wish to do so. I also incorporate custom commission pieces for buyers which are often a lot cheaper as they bring about concepts, suggest colourways and often prefer small sized works. However, the pricey and laboursome nature of tapestry making through punch needling is an undeniable one. It forces an understanding that certain levels of accessibility of my work by buyers might only occur at a more established phase and through continued access to certain spaces. For now, I can only focus on platforming my work as optimally and relevantly as I possibly can, which makes me even more appreciative of intentional and connecting platforms like The Dealr founded by Muofhe Manavhela. Such contributions allow for some sense of control in terms of enhancing accessibility in creation.

As a black woman I fear the impact of what I create could be lost in a sea of similar stories (or the inflated concept thereof), ideas and beliefs, have you felt this way before and has it impacted your artistic choices?

SM: Absolutely. When I started out in my creative career, the already concluded assumption of black  women being too overbearing and their mere expression being annotated as problematic and too intense resulted in me diluting the depth and black-specific nature of my work. This was to make my work more accommodating to anyone that perceived it. To make it more comfortable and digestible. As a self-taught artist, it initially felt intimidating to make any demands through the work I created. Not because I doubted my abilities but more because of these ideas and beliefs and how doors might become inaccessible from creating work that in any way aligned with these perceptions. Through creating more and occupying more of these spaces, I came to realise that creating from a place of safety and what is known and deemed acceptable does me and those my work exists for such a disservice. It takes away from the reminders my work serves and feeds into realities that black women should never even consider accepting for themselves.

Thank you for speaking with us, lastly we’d love to know why you’d chosen to engage in this conversation with us?

SM: FRM truly does so much in platforming emerging creatives. I value how engaging this media  publication is and how intentionally curated each interview with each creative is. Being given the chance and held space for to expand more on my work also allows so much creative interrogation and revelation. I also just Odwa and the team and their contribution in the documentation of creative media <3