Nicholas Hlobo Talks about his Year as a Rolex Protégé
How well did you know London before your protégé year began?
On my first visit, in 2004, I walked until my feet were virtually sore. I thought that I’d do Tate Modern and Tate Britain in one day! I couldn’t, of course, but I remember seeing pictures of Anish’s Marsyas in the Tate’s Turbine Hall, and it captivated me.
What have you gained from the mentorship?
I’ve gained a lot of strength. It’s kept me awake, and I’ve gained a lot of encouragement and wisdom. Anish says: “It seems that you’ve found what you need.” It’s very hard to put into words, but it’s like getting to do my pointe work if I was a dancer.
Is Anish of special interest to you as an artist?
Yes, and he was long before this. But I never dreamed that I’d be sitting in front of him now. In his art there is a balance between revealing and concealing things. You have to find your own way in, and Anish’s work touches me.
What do you think of Anish’s London studio?
I’ve been here four or five times now and it’s a “Wonderland”! I imagined it would be a big studio, but it’s much bigger than I thought! This is a discovery, and the teams of people who help him to make the work are a lot to desire.
Has your work changed during the mentoring year?
One of my mottoes, each time I make something, is that there has to be an introduction of something new. What this Rolex project has done is allow me to have some new outlook on my life as an artist and have a thousand scales to weigh different things.
What hopes do you have for your future?
To have a better understanding of who I am and allow myself to look in a better way. I want to find a key to open things up and allow the light in – even when it’s dark at night. So I learn all the time, and I wish for the positive and to be surprised.