Mary Sibande

"I had everything I needed, and I went to a good high school which was multiracial. Many families couldn't afford to send their kids there but I was fortunate that my mum was able to. I guess that also pushed me in a certain direction."

"There were no museums and galleries in the town I grew up in; that was foreign to me."

"...I can now marry the two worlds – fashion and fine art aren't far off from each other."

"The fabric used to produce uniforms for domestic workers is an instantly recognizable sight in domestic spaces in South Africa, and by applying it to Victorian dress she attempts to make a comment about history of servitude and colonization as it relates to the present in terms of domestic relationships."

"The female visual artists before my generation worked extra hard and paved the way for me. Some of them are being recognised only now; they died poor. For me it was easy; these women were the stepping stones."

"This was more about how I see the world and how I look at myself as a black woman born in apartheid South Africa in 1982."

"Sibande has used her work to expose many different things, from postcolonial South Africa to stereotypes of women as well as stereotypes regarding black women in South Africa."

"Her work contains multiple types of mediums such as sculpture, photography, design, collage, and even theatrics. Sibande's painting and sculpture uses the human form to explore the construction of identity in a postcolonial South African context, but also attempts to critique stereotypical depictions of women, particularly black women."

"Sibande's theatrical quotations of the language of dress and use of dramatic poses may be related to photographic representations of the Victorian female hysteric in various stages of a hysterical attack, in that they both evoke a sense of excess."

"Her body of work is divided into colour-based themes, and after her ‘blue period’, Mary moved to purple, with the highly acclaimed The Purple Shall Govern.""