Artist Spotlight: PRSDNT HONEY
Rendani Nemakhavhani, who also goes by the alias PR$DNT HONEY, is a multidisciplinary artist with a primary focus on illustration. She's influenced by African textures and cultures as well as her surrounding environment. Her work includes collaborations with brands like Nike, Capitec Bank and Rich Mnisi. She's also won a Grand Prix for the design of the ‘Indaba Is’ album cover that was turned into a wine label.
We caught up with PR$DNT HONEY this past week, whose personality and energy is as vibrant and enchanting as her works. We chatted about her journey in the art space, her inspirations and the way that her work is deeply rooted in something bigger than just her. PR$DNT HONEY is the girl she thinks she is.
SL: Who are you and where are you from?
PH: I’m the PRSDNT B* (LMAO), I’ve always wanted to say that. My name is Rendani Nemakhavhani aka PRSDNT HONEY and I am a multidisciplinary artist from Johannesburg.
SL: How did you get into art and illustration? Tell us about your journey ?
PH: It has always honestly been me following my gut. I’ve always been a creative kid who has just been interested in how things are made beautiful. I was introduced to illustration in varsity. I always knew about drawing, but I didn’t know that there was a specific discipline that is a mix of graphic design and drawing that one could make money off of. So it was actually through the course I was doing at FADA that I learnt about this. I really struggled with drawing, so as much as I knew that I enjoyed this, I also felt a little trapped in the styles in which we were encouraged to work in in varsity. I barely passed the drawing classes, but I eventually found my style.
SL: How has your style evolved over the years?
PH: When I started illustrating it was on paper. I used a style called pointillism. I used to draw portraits and insects and flowers and the like. I then experimented with digital versions of those works. This is where I started to build my personal style. Creating work that is vibrant and what felt authentic to me. As time went on, I felt like I was struggling to make my style palatable to a commercial market, because all I wanted to do was illustrate full time. I stopped illustrating and concentrated on working on my photo series ‘The Honey.’ Once that felt like it had gone as far as it could’ve, I gave myself a chance at illustrating again. The pandemic hit and working from home gave me the time to really hone into my style. I’d made peace with the palatability thing. Those with a taste for me will find me and I will also find them.
I am a details girly. Big on line work and colour. I love that my style (in whatever phase it has been in has always been ornate) has allowed me to experiment with a variety of materials that it can live on.
As I’ve honed my skill I’ve gone back to working on paper, but with pastels this time. It’s been interesting seeing how I look at portraiture in that medium. I can’t wait to see how far this version of my illustrations go!
SL: Your work often reflects themes of identity and culture. How does your background influence the stories you tell through your art?
PH: I come from a very colourful people. I’m a mix of Venda and Tsonga parents. So that has informed my vibrancy quite a bit. Being raised in Joburg has also informed that for me. I was mostly raised by women. This is why I lean into making portraits of women.
In my pastel work, my story is that of rediscovery. I’m learning a new medium, whilst exploring a more childlike version of myself.
SL: Why did you choose the name ʻ PR$DNT HONEYʼ?
PH: It’s an ode to my grandmother. She raised me. That was my big homie. My PR$DNT. She was my first real life reference of what doing you while also taking care of your community looked like. My grandmother was a true reflection of the kind of person I am becoming. That was my big homie man. She had a sharp tongue and a big heart. Emphasis on big heart. She was my first PR$DNT. I’ve never known a truer love and will always be so grateful that her gift of creativity was also sprinkled onto me.
SL: You have an incredible catalogue of projects under your belt, such as ‘The Honey’ series as well as your 2019 collection aimed towards women in power which we saw debuting during the elections. Alongside these works, which project has been your favourite so far?
PH: Ooooou! A bit hard, but also quite easy to pick from. ‘The Honey’ will always be the project I look back on and smile at because it taught me so much about what I want as an artist, as well as where I want to be and see my art go. Making ‘The Honey’s was one of the bravest things I’ve done because we were literally figuring it out and following our intuition as we went. It unleashed a part of me that I didn’t know existed. Being in front of the camera, while also conceptualising the work has been a game changer (this is why you’ll always see me as the subject in my own films.
This year I made my first short film titled Vulombe (honey in Tsonga), with TwoFold. To say that I fell in and out of love with film is an understatement. Also being able to build a visual identity for the film was so cool. I’ve never made that much work in one go. I really, really, really loved that project. Can’t wait to make my next film!
SL: We know you’ve done some great work with Nike like the AMBUSH Nite Sport campaign, how does streetwear play a role in your life and your work?
PH: I caught onto streetwear quite late in my life. I knew it existed, but didn’t really pay any mind to it like I do now. As my personal style has evolved, streetwear is what I’ve gravitated towards. As an artist I’ve been thinking (and lowkey sampling) about how my work can live on clothing. I made a range of once off satin scarves that I really loved making. They did quite well. I’ve also collaborated with the likes of Rich Mnisi, and that also opened my eyes and mind up to leaning more into the streetwear space with my work. And now this really dope jersey. It’s made me eve more excited to make my first capsule that’s informed by my work.
SL: How do you navigate the balance between your commercial projects and your personal artistic endeavours? Do these worlds ever intersect?
PH: It’s most certainly not pap n’ vleis lol. Commercial projects are work, so I always try my best to answer the brief as best as I possibly can, while considering that it needs to live on more than one medium. There’s a less free consideration that needs to go into this part of my work.
My personal artistic endeavours are the place that help stretch my skills. I can play as much as I want to here. There are literally no rules. This part of the work helps bring in more work.
So I try to bring the two together in a way that allows for the work to live in a commercial realm, whilst keeping the artistic integrity.
SL: Your work often challenges Western beauty standards and societal norms. How important is it for you to represent African culture and identity in your art?
PH: It’s mad important to me because I am my first point of reference. The way that I look is a challenge to western beauty standards in itself. Growing up, people and kids made sure to remind me that I wasn’t the palatable type and that I didn’t “look” South African - insert eye roll.
This is something that I’ve had to work through on a personal level for a really long time in my life. I guess I could say I’m still doing this. It has been a daunting and extremely taxing thing to unlearn.
This lived experience has informed my thought and creative process quite extensively. After my personal experiences, comes how I feel about Africans. I love us sooo much and will try to rep us as best as I possibly can in my work.
We’re such a vibe and an interesting people.
SL: Can you walk us through your creative process, from initial concept to finished piece?
PH: My process is instinct driven. I don’t really brainstorm or make sketches. Once a thought is sparked I just start drawing and see where my gut takes me. This is why I struggle with submitting scamps or process work when working on commercial jobs. I will usually work on the whole thing and hand in a finished first draft because once I start I can’t really stop.
SL: Name 3 of your favourite influences at the moment.
PH: Hmmm… uhmmm… independent films, some South African and Nigerian photography as well as African streetwear brands (I am in love with what WAF and Free The Youth have been doing!)
SL: What upcoming projects or themes are you excited to explore? Are there any new directions you’re planning to take with your art?
PH: I’m always experimenting, so don’t really know just yet. But what I really want to get back into is working with more textiles/ garments. Making more films as well, this excites and scares me so much all at the same time. Also can’t wait to do more work on the continent as well as some parts of Europe.
SL: How do you hope your audience will connect with your work?
PH: I really hope that they enjoy it for what it is. I hope that more people like me are able to see a reflection of themselves. I hope they feel the good vibrations.
SL: One piece of advice for anyone starting in your field today?
PH: SHARE YOUR WORK! You never know who’s watching.
SL: Lastly, what do you do in your spare time, what keeps you motivated?
PH: Lol, what’s spare time again?! When there is time for down time I love hanging with my homies. The people around me are so interesting and motivating. It’s a dope likkle world that we’re living in.
To celebrate the release of the Nike Women’s Air Max Plus TNPO, Shelflife collaborated with PR$DNT HONEY to create a one-of-a-kind TNPO-inspired soccer jersey.
The sneakers drop this Saturday, the 31st of August from size UK3-9.5 for R3699 in Cape Town, Joburg and online, on a F.C.F.S basis.