Adèle Oldfield's work is striking for both its playfulness and keen perception. Providing a meditation on gender and identity, her work explores the notion of the feminine and its various associations. The color pink is an important element in many of her works, essentially becoming the medium of the artwork itself. Born in Zeerust, South Africa, Adele works as both an artist and educator in Pretoria. In 2006 she held her first solo exhibition at the prestigious Fried Contemporary gallery in Brooklyn, Pretoria. and was also the recipient of a Ekurhuleni Fine Arts award. Her work has also been exhibited in the Klein Karoo National Arts Festival and Aardklop National Arts Festival.

Kismot: Your piece “Comforter” was inspired by the increasing popularity of plastic surgery and silicone breast implants in society today. You constructed the piece using approximately 160 latex casts of different size breasts. Can you describe the process of constructing this complex work?

Adèle Oldfield: The process was a rather tedious one as numerous body casts had to be made of various body types. It was important to do numerous casts in order to achieve variety in the work. I had to do quite a bit of convincing before my models caved in - people are dubious to put themselves on display like that. After the moulds were made, the tricky work was done and it was just up to me to cast the breasts in latex.

K: Femininity is an important theme in your work? How are notions of femininity different in South Africa than in other parts of the world?

A: I don’t think that the notions of femininity differ that much in South Africa. Contemporary culture here is very much westernized. Women in South Africa look to the same media images and articles for beauty and fashion tips as do the women in America. The notion of beauty and what it means to be a woman do however differ in the traditional communities here. Traditional African or non-western beauty will always remain different as different features or aspects of women are valued within a traditional context and differ from one culture to the next.

K: Your work spans several mediums. Is there a particular medium that you prefer?

A: No, I do not have a preference. I think that the concept or message that you wish to convey through the work often determines what medium you use. For instance, some of my more recent work makes use of hair as a drawing medium and highlights the works’ focus on DNA and personal belongings.

K: Pink is a recurring color in your work. Do you ever feel trapped by the color pink and its association to femininity?

A: No. I love the colour pink because it is so striking and tends to grab the viewer’s attention straight away. It also has so many connotations. For me, pink has become a medium or trademark that I use, rather than just a recurring colour. I have however moved away from the continuous use of pink. Instead, I have been using a variety of subtle colours as highlights in my work. Once again, the message of the work will determine my use of colour.

K: How do mens' reactions to your work differ from womens' reactions?

A: So far, men have reacted very positively to my work. I think they enjoy the humour in the work, especially when it comes to the works “Comforter” and the “Allsorts” Series – obviously they are still looking at breasts – but these are breasts with a twist. Women also see the humour in the work, but tend to read the more serious undertones that are being addressed. The works are not meant to be feminist artworks. Instead, they depict issues that women have to deal with on a daily basis and highlight the absurdity of it all.