Katesi Jacqueline Kalange is a Ugandan interdisciplinary visual artist, specializing in woven sculpture, painting, and performance installation art. She holds a Bachelor of Art and Industrial Design from Kyambogo University and is currently pursuing a Master’s Degree in Art and Design with a specialty in sculpture.
Kalange comes from Namutumba district in eastern Uganda, a place that awakened her love of weaving. Currently residing in Kampala, Kalange works with communities from different parts of Uganda to produce large-scale sculpture installations as a protest against environmental injustices. It is through this weaving process that Kalange also champions peaceful co-existence among communities.
Kalange’s single art piece has many parts to it. Literally. She talks about why weaving and community involvement are significant parts of her art-making.
Anjellah Owino: When did you realize that you were going to be an artist?
Katesi Jacqueline Kalange: It is somewhat strange for many people, but my parents told me of moments when I would wake up in the middle of the night to draw human stick figures. I would draw in a kindergarten class to the extent that my teachers were scared at the thought of me losing focus on my studies. They voiced their concerns to my parents, who told them that this is my passion as I draw even at home.
My parents’ unwavering support throughout the years boosted my confidence to practice art. They are doctors; however, they have never once attempted to persuade me to follow their career path. In fact, I was the one who wanted to mold myself into what they are due to society’s expectations, but they kept affirming to me that I could consider art a career as long as I did it with love and happiness.
Anjellah Owino: Why do you use weaving as the main technique in your art?
Katesi Jacqueline Kalange: I was blessed to have spent the holidays with both my late paternal and maternal grandparents during my childhood. They believed in imparting informal basic skills like weaving to the younger generation. It was then that I was introduced to weaving, a craft that unites a multitude of people from different walks of life under one roof.
I am fascinated and inspired by the process of weaving, which starts with one strand that is joined with others to form a strong network of strands whose beginning and ending can’t easily be determined, which I relate greatly to our co-existence alongside other beings, growing stronger and better when we collaborate. Therefore, I weave with communities as a way of expressing myself artistically and telling the story of my people beyond words.
Weaving connects people to resurrect profound moments and values that our ancestors held dear. It signifies the beauty of unity. It is my way of passing this skill on to the next generation. I also upcycle, recycle, re-use, weld, smudge, and use a palette knife, with weaving as the primary technique.
Anjellah Owino: How did you choose your artistic medium?
Katesi Jacqueline Kalange: I have had an interest in sculpture and painting for a while. My turning point was in 2018 during my bachelor’s degree, when one of my lecturers, the late Mr. Ssenyonga JohnBosco, challenged me to think outside the box by identifying the material and technique of my choice and choosing to experiment with them thoroughly to the point that I could comfortably use them to express myself artistically.
Initially, I had assumed that cement, clay, and metal were the only materials suitable for sculptures since these were the most commonly sought-after materials by most students and artists then. When I enrolled in the sculpture class, I imagined myself continuing with what was already in existence. However, my teacher kept advising me to go with my truth. It was at this point that I chose to borrow from where I come from and bring it into my education to position myself as a woven sculpture installation artist.
Anjellah Owino: What is your creative process like?
Katesi Jacqueline Kalange: I start by reaching out to a community and sharing my intentions of collaborating with them to advocate for a clean and safe environment. I study their way of life to identify my points of interest for my theme. I speak with various members of the community about general cleaning around their environment. We collect these materials to use during the weaving process. We sketch installation ideas inspired by Mother Nature. After which we collectively weld to lay a sturdy foundation for the weaving, paint the metal bars to prevent rusting, and then weave the welded armature. We then transport the installation to its final destination and present it to an audience with a collaborative art performance by using sustainable fashion wear made out of the same materials, which is intended to imitate plant parts like flowers, leaves, roots, and branches. We leave the main plant—in this case, the installation—and move towards the audience to push the conversation around climate justice forward.
Anjellah Owino: What has been the impact of involving the community in your practice?
Katesi Jacqueline Kalange: I work with children, youths, persons with disabilities, women, men, religious leaders, and political figures, to name but a few. I found out that people are able to reflect and open up about what they go through when weaving.
When I revisit these places, I find that the communities continue to weave together even in my absence. My grandparents told me that they used to commune to eat, talk, and resolve conflicts as a community when they wove. It gives me a sense of joy to see that this cultural practice is being imparted to the younger generation.
Through these community collaborations, people can use the hands-on skills generated for their survival even after the projects. For example, one woman expressed her joy at earning money from weaving household items like bags and baskets using polythene bags and plastic. At a point in time like this, where our education system is producing more job seekers than job creators despite the existence of inadequate employment opportunities, especially within the formal sector, many youths have been exposed to drug addiction, human trafficking, theft, and other vices to earn a living.
Therefore, community-based projects like the “Nature Invasion” project have offered rehabilitation through skills training that has enabled such challenged people to sustain themselves and refrain from committing crimes.
Anjellah Owino: How do you earn a living from your work?
Katesi Jacqueline Kalange: I would be lying if I said that I had sold any installation work so far. However, they have opened up more priceless doors for me through engaging in career-boosting exhibitions as well as receiving art funds, awards, and grants from which I earn my living.
In 2021, I participated in the KLA Art festival organized by 32 Degrees East Ugandan Arts Trust, which provided fertile ground for the genesis of “Nature Invasion”, a lifetime project inspired mainly by Sustainable Development Goals (SDGs) number 13 that opened more doors like the Small Project Grant Fund organized by Goethe Zentrum, Kampala, and the Prince Claus Mentorship Awards; Building Beyond Category in 2021. I would advise any installation artist to create works around themes that are team-oriented, inclusive, relatable to your audience from different parts of the world, and that are in line with the SDGs.
Recently I was honoured to be the 2023 Tilga Fund recipient residency winner, which comes with a grant alongside a fully funded residency at The Guest Artists Space (G. A. S.) Foundation (Lagos, Nigeria). I’ve also been a part of the inaugural Venice Architecture Biennale College 2023.
Anjellah Owino: What are some of your most notable exhibitions?
Katesi Jacqueline Kalange: The KLA Art Festival 2021 is organized by the 32 Degrees East Ugandan Arts Trust. Passport exhibition at Xenson Art Space, Uganda in 2021. The “Pink Flame” group exhibition at Village Market, in Nairobi, and the “Gifted Hands” group exhibition at Nommo Gallery in Uganda, both in 2022. Art Connects Women group exhibition, 6th Edition; Dare to Dream, 2023 in Dubai.
Anjellah Owino: Who inspires you?
Katesi Jacqueline Kalange: God, my parents, and my mentors. I also draw inspiration from the natural environment and the communities I work with. The relationship that I have with them informs other aspects of my life. The power of knowledge inspires me too. You know every project does not leave me the same; I learn and unlearn.
Anjellah Owino: How does the visual arts scene in Uganda look right now?
Katesi Jacqueline Kalange: It is on the move with each year that unfolds. It has a lot of awesome young talents and emerging art spaces. During the COVID-19 pandemic, prominent centers like the National Theatre, Nommo Gallery, Uganda National Museum, Tadooba Gallery, and 32 Degrees East Ugandan Arts Trust, among others, closed. At that time, we witnessed the birth of the virtual era that shifted most of these operations online; for example, the Kampala Art Biennale 2021 organized by Afriart Gallery and the KLA Art Labs meetings in preparation for the KLA Art Festival 2021, among others. As a consequence of the travel restrictions, artists who were to travel to attend international exhibitions, art residencies, exchanges, fairs, biennales, and auctions could not do so. Luckily, visual artists had stocked enough art supplies and reported an increase in their production levels since they considered such a time as a conducive personal space moment to stimulate further studio experiments and explorations. Finally, when physical spaces were reopened, exhibitions were held. Right now, we have Emmie Nume’s solo exhibit at Afriart Gallery. The Honourable Rachael Magoola and other members of parliament set up UGAPAFOCI to grow the cultural and creative industries in Uganda. The industry is also counting down to the launch of phase 1 of 32 Degrees East’s new home in Kabalagala this month.
Anjellah Owino: And what are you most excited about for your art?
Katesi Jacqueline Kalange: The ability of collective effort to inspire change and make a difference in people’s lives. Endless opportunities.
I think my practice has the power to tap into several environments without limitations. I am excited to experiment with styles and materials by pushing artisanal techniques and skills to their limits, which gives birth to innovative or new forms of art.
Additionally, I am also excited about the priceless bond that develops between me, the community, and the artwork, which I relate to that between a mother and her baby. I am excited about future collaborations. I am excited for growth.