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Yonela Doda's work offers viewers not just visual experiences but opportunities for emotional catharsis and personal reflection.
Yonela Doda —Nobody wants to go to Hell… Presented by : Kavula Art Studio.Picture: Latitudes.online
Cape Town-based mixed media artist Yonela Doda transforms personal pain into powerful visual narratives, using collage and thread to explore themes of identity, vulnerability, and healing.
At just 26 years old, the Western Cape-born artist has already established herself as a compelling voice in South Africa’s contemporary art scene, with her work grounded in catharsis theory and deeply personal experiences.
Doda’s artistic practice centres on what she describes as “Dodaizm” – a combination of her surname and her unique artistic style, which blends surreal, Dada-inspired collages with intricate threadwork.
Her pieces confront viewers with fragmented bodies, intimate materials, and visceral imagery that challenge traditional notions of femininity and artistic expression.
Yonela Doda’s art of emotional release
The Merriam-Webster dictionary defines catharsis as “the purification or purgation of the emotions primarily through art”.
According to her biography from Ruth Prowse School, where she graduated with a Diploma in Fine Arts, Doda’s work is “premised on the Catharsis Theory and the deep connection she has with her physical and emotional aspect of her life as well as the things she wishes to fix within herself.”
Central to Doda’s work is her exploration of catharsis – the psychological concept first used by Josef Breuer that involves emotional release and purification.
“The use of collage and red thread in this work allows me to explore themes of identity, existence, and the fragility of human connection,” Doda tells The Citizen, discussing her piece “You almost didn’t exist (Coming and going).”
“The collage elements represent the fragmented nature of self, where we’re coming from and where we’re going (birth and death) and the chances of our existence if our parents didn’t meet.”
The materials themselves become vehicles for emotional processing.
“Through this piece, I aim to create a sense of catharsis by confronting the viewer with the impermanence of relationships and the self,” she explains.
“The materials themselves or the use of them become a form of expressing that emotional release, allowing me to process and reflect on those ideas.”
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Thread as metaphor and medium
Thread runs through Doda’s work both literally and metaphorically, serving as a means of connection, repair, and meditation.
Her relationship with stitching began in childhood, evolving from making doll clothes to discovering her artistic voice in high school.
“There was always a means for scaffolding, putting together, fixing, making neat and sometimes tucking away the not-so-good parts,” she reflects.
“The physical act of stitching is one that involves the process of catharsis, which is the emotional part of it all, letting go, cleansing and sometimes even a form of meditation.”
This therapeutic approach to art-making extends to how she views her role as an artist dealing with personal trauma and healing.
Confronting power and voice
Doda’s politically charged piece “How could you make my story yours to tell?” demonstrates her engagement with issues of narrative control and marginalised voices.
The work features black thread stitching over a collaged body image with the words “Stand With Us” visible.
“The piece is a powerful exploration of identity, voice, and ownership,” she explains.
“The black thread stitching over the collaged body image represents the complexities of narrative control and the ways in which stories can be taken, distorted, or silenced.”
The artwork serves as both a critique and a call to action.
“This work challenges the notion of speaking for others, highlighting the importance of amplifying marginalised voices and respecting individual narratives,” Doda continues.
“It’s an invitation to reflect on the dynamics of power, representation, and empathy.”
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Cultural inspiration and personal symbolism
One of Doda’s most striking pieces, “Planet U,” features a teddy bear covered in colourful sewing pins.
Doda says the bear draws inspiration from African spiritual traditions, specifically the Nkisi Nkondi figures from Congo, present-day DRC, and Angola.
“The term Nkondi means hunter or guardian. The Nkisi Nkondi figures embody an ancestral spirit who will hunt down sources of misery and destroy them as well as hunt down anyone who has taken a vow, oath, contract and hasn’t kept that promise,” she explains.
However, Doda brings this closer to home. She transforms the traditional concept into something deeply personal and contemporary.
“I feel like my partner is that person for me, so this teddy bear was actually made as a symbol of the love that we share and the life that we’ve created for ourselves,” she reveals.
The piece embodies her desire to create something that appears simultaneously inviting and complex: “It’s almost as if you can eat it (the teddy bear) I wanted to created something beautiful and candy like, playful and fun something the viewer looks at and feels like they want to eat it but also admire because it is so beautiful.”
Exploring feminine experience
Doda’s use of intimate, feminine materials challenges traditional art boundaries and opens conversations about women’s experiences.
Her piece “Khanya” incorporates a panty liner with thread on paper, directly addressing themes often considered taboo in artistic discourse.
“The piece ‘Khanya’ is a reflection of my exploration of femininity, vulnerability, and the intricacies of womanhood,” she tells The Citizen.
“Using a panty liner with thread on paper allows me to tap into themes of menstruation, identity, and the often-overlooked aspects of female experience.”
This bold choice of materials serves a deliberate purpose in her broader artistic mission.
“By incorporating intimate and feminine materials, I aim to challenge traditional notions of art and femininity, while also creating a space for dialogue and reflection,” she explains.
She says the materials used in Khanya hold some kind of power and significance.
“I’m drawn to their ability to evoke emotions and spark conversations.”
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The body as material and message
A recurring element in Doda’s work is her focus on bodily experiences and the representation of different body types in her collages.
When questioned about her predominantly featuring white bodies in her work, she clarifies her artistic intentions: “My work is more about how the body is and can be used as a material and less about whether the body is white or black. It’s about how it makes you feel visually when looking at it.”
Her approach transcends racial politics to focus on universal human experiences.
“More than anything, I focus on creating a visceral feeling through the use of the body and sometimes flesh-like images,” she explains.
“My work transcends beyond what colour bodies I use. It is about the body in its entirety.”
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Emotional connection over intellectual analysis
For Doda, the success of her work lies not in academic interpretation but in emotional resonance with viewers.
“Creating an emotional connection with the viewer is very important. I want my pieces to resonate on a deeper level, to evoke feelings and empathy,” she says.
“By exploring bodily experiences and vulnerability, I aim to create a sense of shared humanity.”
This approach stems from her belief that art should facilitate personal reflection and understanding.
“When viewers connect emotionally, they’re more likely to reflect on their own experiences and perspectives. This emotional resonance can lead to a more profound understanding and appreciation of the work,” she explains.
Mentorship and growth
Doda’s participation in RMB Latitudes Art Fair through the INDEX: Invisible Thread exhibition represents a significant moment in her career, facilitated by mentor and curator Bonolo Kavula.
“It helps when you have someone who is always pushing you and wants what’s best for you, and Bonolo has always been that artist/mentor for me,” Doda acknowledges.
“Having a connection also helps because she understands me and sees me, and that’s important to me.”
The exhibition, described by Kavula as an “axis of proximity” where artists’ visions overlap, brings together eight independent artists exploring themes of identity, connection, and materiality.
Doda sees the common thread among the participating artists as their shared use of linear elements.
“I think what everyone has in common is the use of line work, whether that’s in the use thread or sculpture. Everyone plays around with lines and what they could be or communicate in relation to their work.”
Parenthood and artistic evolution
Doda tells us that recent motherhood has profoundly influenced her artistic perspective and spiritual journey.
“Parenthood has influenced my work in more ways than I can imagine. It has shaped my way of thinking about everyday life, it has made me appreciate life even more as it comes, and most importantly, brought me closer to God in the most beautiful way,” she reflects.
Looking toward the future, Doda plans to delve deeper into personal honesty and spiritual exploration.
“More thread, more thought-provoking and visceral feeling. More personally honest thoughts and feelings and things that I and the everyday person deals within. I’m also tapping into the Christian religion a bit and my views on it,” she reveals.
A growing presence
Since graduating from Ruth Prowse School, Doda has participated in numerous exhibitions, including shows at The Move Gallery in Khayelitsha, Zeitz MOCCA, and various group exhibitions.
Her work has been featured in “DREAMED REALITIES” at ORMS Cape Town School of Photography, where she won recognition, and in exhibitions curated by notable figures in the South African art scene.
Her work offers viewers not just visual experiences but opportunities for emotional catharsis and personal reflection, using the simple yet powerful medium of thread to weave together stories of pain, healing, and hope.
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