Sphephelo Mnguni is a Durban-based artist whose artistic endeavors are primarily aimed at capturing and celebrating the richness and diversity of black culture in its various forms. Mnguni skillfully depicts powerful and thought-provoking portraits of black individuals, each conveying a profound sense of agency and identity that transcends prevalent cultural stereotypes. Furthermore, his work is profoundly influenced by the ongoing discourse surrounding black identity, both within the context of South Africa and the broader African diaspora, inspired by pop art and Afro-surrealism.
How did you feel that you needed to create?
Kids usually like to draw, and I wasn't different. But mostly they forget it when they get older, I didn't. My teachers noticed my talent from first grade and asked me to draw with chalk on the board for different events. I also drew cartoons and things I saw around. In secondary school, my love for art became more serious. I focused a lot on drawing cars. I had a cousin who was also very good at it, and I felt like we were competing, although he didn't know it. His skill pushed me to improve and sharpen my own.
By high school, I realized that art was my passion and what I wanted to pursue. However, it wasn't until a teacher told me that I could make a career out of art that I considered it seriously. This idea was foreign to me because parents often encouraged their children to pursue more traditional careers like teaching or medicine in South Africa amongst other typical career paths. My teacher used to take me to museums and gallery spaces to show me that art could be a profession. I was also blown away when I realized that people could actually make a living out of art making.
When you visited those museums, what kind of artworks did you see?
I visited the Durban Art Gallery as a kid and still vividly remember the experience. The gallery had different levels showcasing traditional African art, watercolor paintings, and European art. However, I noticed that the majority of the museum's collections consisted of European art. Even when I attended art school later on, a large portion of the curriculum focused on European art. There was a pervasive misconception that art was primarily for white people, and it wasn't until later that I discovered the rich tradition of African art, which was a refreshing and enlightening experience for me.
You are exhibited in Kunstmuseum Basel at the When We See Us exhibition. What does this title mean to you?
During a residency in Germany, I only met little to none black people in a month, which made me think about the lack of representation of African people in art history and the importance of seeing ourselves represented. When I discovered the Harlem Renaissance movement, it was a moment of realization that there is a place for us in the art world. I am not lost because these other people who look like me are also doing this. So, seeing them is seeing us represented in spaces.
How can you blend traditional African art with contemporary language and Black art with European styles?
My journey in art began with imitating old paintings by masters like Rembrandt or Picasso. I add dark, additional paint to my compositions to imitate old paintings. We didn't have enough references of African art. We spent a lot of time learning about different art movements, but our lecturers wanted to know our own voices and perspectives at some point. Who are you? Is a profound question for instance. And it's a question that requires you to look within your culture and the community you identify with. I integrated my personal background and experiences with what I’ve learned to develop my own relatively unique style.
How would you describe your own style?
My paintings often feature the deliberate use of black pigment to describe our artistic capabilities. I draw inspiration from realism and surrealism. While studying in art school, I developed a great admiration for Salvador Dali's work and other surrealist masters. Their influence is subtly present in my art today. Additionally, I am a fan of pop art and contemporary pop culture. The emerging genre of Afro-Surrealism also inspires me.
Let's talk a bit about your subjects. I noticed that their gaze was very serious and suspicious.
I always ensure that the subjects in my artwork make eye contact with the viewer. It's a way to engage the audience. This powerful connection was inspired by Rembrandt's paintings, where the soulful eyes captivated me. It's my way of honoring the viewer and sparking a dialogue through the artwork. It's an invitation for us to really see each other and have a conversation. I hope that the discourse carries through even when I'm not present to provide insight.
Mostly in the black African communities, making eye contact with someone is a sign of respect, especially when talking to elders. To me, maintaining eye contact with the person you are speaking to is a way of saying, "I see you, and I recognize your presence and abilities”.
How do you find your subjects?
I usually take photos of my friends and family, whether for example I'm at a birthday party or dinner. As an artist, whenever I see something that inspires me, I ask if I can take a photograph for a painting. When creating a composition, I start by taking photos and then I come back to the studio to do sketches and then I paint. That's my process.
What is the difference when you paint someone famous like Kanye West or Michael Jackson?
Sometimes, I just want to depict someone popular, but sometimes, there is a story behind a painting. For instance, I painted the Michael Jackson portrait to remember my late uncle, who is no longer with us, but was a big Jackson fan. I made the painting to honor him. This painting was more about paying homage to my uncle and to Michael Jackson and recognizing how much Michael Jackson means to a lot of people here in Africa. I remember when he visited the country and the excitement it brought when he came to see Nelson Mandela.
I also realized that sometimes you depict yourself as a selfie.
My work is just me enjoying the process and the technical aspects in the studio. Sometimes I create paintings based on interesting poses or gestures, without a specific concept. Being African alone is a concept. I largely enjoy composing and envisioning the artwork technically. Lighting is crucial, and it is influenced by my filmmaking background. My videos internationally lack specific themes but put focus on how light interacts with composition and color. Even with my self-portraits, they’re about testing my limits most of the time.
It's also fascinating how your subjects are connected to the backgrounds.
I'm still very curious about the backgrounds. If you look at all my artwork, you'll notice that I paint a lot of different backgrounds.
When it comes to backgrounds, I don't over-stress about them because my work is mostly figurative. I'm still searching which background would become my signature language, but I'm not rushing the process. I just want to paint something playful. I'm now experimenting with geometric shapes, but you see, the painting called iKumkani has a very multilayered background with a lot of plants.
You also paint a lot of different materials, different textiles.
My art is heavily influenced by pop culture. In the past, I focused on close-up details but I plan to incorporate more background and context into my work. The patterns and logos I use are a mix of intentional and unconscious decisions.
For example, I might incorporate a leopard print or a recognizable brand logo as a nod to pop culture. Regarding symbolism, the leopard print holds a special meaning for me as a representation of the Zulu South African culture. Historically, wearing leopard skin was reserved for high-ranking individuals, but over time it became more accessible to the general population. When people wear leopard print today, it carries a sense of community and tradition that I find meaningful.
What does black joy mean to you?
Living without fear is beautiful—it allows for joy and freedom. I believe in people's freedom to express themselves and move through life without fear, as long as it doesn't harm others. To me, black joy is the ability to pursue your desires without fear, especially today. It's disheartening to see violence persist despite efforts to avoid it. We all want basic comforts—good food, a safe home, friends, and love. For me, achieving black joy means my family living comfortably, my siblings receiving a good education, and a world free from violence.
How can we read your paintings from a political or social aspect?
Artists have a responsibility to document the times and address social issues because they are the ones who bring people together. I believe it is important to convey a message and engage in dialogue with people so that future generations will understand the world as it once was.
While I usually don't like discussing politics extensively, I try to communicate subtle messages through my work.The future generations will see how things were traditionally done and understand that I am reimagining and integrating our culture into modern times.
How can you challenge the stereotypes?
I have a painting called 'Iqiniso: The Truth' where a woman holds a weapon and the man holds a baby. Those are my friends that I painted there. We were discussing the changing role of women in our culture. I come from a background where women had to play both roles due to the loss of male family members in political struggles. The painting pays homage to the incredible women in my family.
You grew up in Durban and now live there. Does that place inspire you as well?
Durban is a very warm city with a strong surfing culture due to its warm ocean. However, many people leave the city for better opportunities in Cape Town and Johannesburg, leading to a relatively small and close-knit population. The city is known for its diversity, with a significant population of black and Indian people. The city's traditional roots are still evident, but it is slowly adapting to the world's changing norms. Personally, the city inspires me a lot because I was born and raised here.
Sometimes, your paintings show urban life, but I know you also paint murals. What is the difference between painting canvas or walls?
I remember when I was doing murals, my friends encouraged me to showcase my work in museums and galleries. I like the interactive energy of murals because I get to engage with people directly while working. Murals provide a free and accessible way for people to engage with art, and I enjoy the diverse audience it attracts compared to galleries.
How is the artist community in Durban?
We help each other. I used to enjoy making collages before I started painting seriously. I didn't focus much on the figures, but then an artist friend of mine suggested that I should pay more attention to my portraits. When I followed their advice, I noticed a positive change in the reactions to my work. It's the same when I visit other artist’s studios - I offer my feedback and suggestions for improvement, and they do the same for me. We have a supportive and honest art community here.
You also play music. How do your music and your painting get connected?
I enjoy playing music while I paint because it helps create a good atmosphere. Music helps me feel calm and not get too caught up in my thoughts, especially because I have ADHD. My brain tends to jump from one thing to another, even when I'm painting. The music I play reflects the chaos in my studio, but somehow, that chaos inspires my paintings.
What are you actually working on?
I have set a goal to have a solo exhibition three years from now. I am currently working on creating artworks for that future exhibition. In the meantime, I will also participate in group shows and other events, but my main focus is preparing for my solo exhibition. I haven't decided on the location yet, but I have been considering New York as an option.
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