2001: Community Arts Project, Woodstock, Cape Town.
2000: Graphic design and advertising, Cape Peninsula University of Technology, Cape Town.
1999: Advertising and Marketing, Advertising College of South Africa.
|Workshops & residencies||
2009: Glenfiddich Artist in Residence, Glenfiddich Distillery, Dufftown, Scotland.
2006: National Heritage Council, African Art Museum, Debre Zeit, Ethiopia.
2005: Mural Global Agenda 21 under UNESCO, Inda Gymnasium, Aachen, Germany; Mural Global Agenda 21, Khayelitsha (Aachen-Cape Town Partnership).
2002: Thupelo Artists Workshop, Annexe, Iziko South African National Gallery, Cape Town. Ukuzoba: From Representational Painting to Abstraction, Community Arts Project, Woodstock, Cape Town.
2005: BBK Gallery, Aachen, Germany. Atelier Haus Aachen Gallery, Aachen, Germany (two person show). Also in Austria and Switzerland. 3 two-person shows, Cape Town & Austria.
2011: Kadafi, The Bag Factory, Johannesburg
2010: The Glenffidich Artist in Residence, The Rainbow Experience Gallery, Mandela Rhodes Place, Cape Town. Nothing is Everything, Word of Art, Woodstock Industrial Centre, Cape Town. 1910-2010: From Pierneef to Gugulective, Iziko South African National Gallery, Cape Town. Ityala aliboli/Debt don't rot, Goodman Gallery, Johannesburg. Milestones, Greatmore Studios, Salt River, Cape Town. 30 x 30 artists, Gill Allderman Gallery, Kenilworth, Cape Town. Bataki Contemporary African Art, Albany Museum, Grahamstown; Mecufe Festival, Bloemfontein.
2009: Umahluko, Cape '09, LookOut Hill, Khayelitsha, Cape Town. Dada South, Iziko South African National Gallery, Cape Town.
2008: Milk Can Art Project, 34 Long Street Art Gallery, Cape Town. Winter Open Studio, Greatmore Studios, Salt River, Cape Town. Performance South Africa, HAU, Berlin, Germany.
2007: africa south, Association for Visual Arts, Cape Town. Akuchanywa apha, Gugulective, Mlamli's Place, Guguletu; Blank Projects, Cape Town.
2006: Umsi/Smoke, AVA, Cape Town.
2004: Artwork Project, Chat Room Communication and Marketing, Cape Town.
2003: Art Angels, Gardens Presbyterian Church, Gardens, Cape Town. Angels without Wings, Cape Of Good Hope Castle, Cape Town.
2002: Absolut Secret 7: Absolut Voyeur, AVA, Cape Town. Galerie Halde 14, Balden, Switzerland. Why Cry? Greatmore Studios, Woodstock, Cape Town.
Chris Barnard Heart Centre, UCT; and Villach Town Hall, Austria. Private collections in South Africa and Europe.
2007: Mural painting with City Skin, Table Mountain Aerial Cableway Company.
Human Rights Media Centre for the Apartheid Museum, Johannesburg.
Hands Off Our Children, a community initiative, commissioned murals in Khayelitsha and New Crossroads.
2010: M. Minnaar, Glenffidich invests in local artists, Business Art, April 1, p.8.
2009: M. Minnaar, Heading for the Highlands: Mzayiya's spirited highland residency, South African Art Times, September 13, p. 4. Lucinda Jolly, Working in foreign climes, Cape Times, June 4.
2007: Niemah Davids, 'Fresh' artist chosen to paint mountain mural, Cape Argus, September 10.
2005: Arts Media Access Centre Calendar.
|Awards||Youth Veteran Award from Khayelitsha Youth Development Forum|
|Other||2004: Business diploma, Scalabrini Centre, Cape Town. Moderation of students' works at the College of Cape Town.|
© Mario Pissarra, 30/01/2006
Image: Dathini Mzayiya "Rewinding at the End of the Day II" 2005
Umsi (the smoke) is a group exhibition featuring Lindile Magunya, Ndikhumbule Ngqinambi, Thulani Shuku, Dathini Mzayiya, Lonwabo Kilani, and Vivien Kohler. Inspired by Magunyas "documentation of the ongoing burning of the shacks in his area"; the artists share a "common concern around the housing problems in the Western Cape [and are] questioning the ongoing burning of the informal settlements". They believe that through coming together they can "voice these social issues louder than an individual can." The motivation for collective action is also a practical one. The artists, who between them have studied at every local institution accessible them, primarily NGO's, colleges and workshops, "decided to create our own opportunities [to build] our group career as well as our individual careers [due to] the gap ...between galleries and emerging artists, and ... the lack of resources for ...solo exhibitions" Guided by emerging curator Vuyile Voyiya, who has been mentor to the group, these paintings come from a workshop held last year as well as from works produced subsequently.
Magunya provides the most explicit interpretation of the theme with The Cries and Abandon, which utilises a simple but effective split frame composition. Generally he does a decent job capturing the texture and character of objects but he struggles with resolving the tension between the pictorial representation of debris with the production of sophisticated commodities (art). His solutions: to simulate through paint on canvas the illusion of a torn edge, or to physically severe edges of his board and to present them in black tomato boxes, were perhaps better ideas than results. In particular the sawn edges appear contrived, and he may have been better served by painting on real debris.
Mzayiya, particularly with his two paintings titled Rewinding at the End of the Day, presents a less direct take on the theme by addressing the need for social spaces for dialogue. His larger than life seated figures are wedged into corners and pressed against walls, their shadows emphasising their marginality. He demonstrates both graphic and gestural sensibilities but the overall result is essentially realist in its convincing representation of ordinary people in everyday guise.
Ngqinambi creates an extraordinary interplay between a tightly modelled naturalism, seen primarily in his figures, with his painterly treatment of the natural elements where the boundaries between land and sky are as fluid as the shifts between the evocation of a deep illusory space and the affirmation of a flat painted surface. Consequently his figures occupy a liminal space that communicates a sense of waiting. A series of small paintings highlights the artist's ability to skilfully evoke epic narratives without resorting to large scale.
Kilani demonstrates an impressive proficiency for drawing. His birds eye perspectives on solitary sweeping men are extremely effective. The contrast of fairly acute illusory space with flat, textured ground is a striking compositional device that establishes a sudden sense of finding oneself on the precipice of a silent excavation. However as a painting the flat ground lacks interest and suggests that it is the second hand repository of an idea, rather than a painterly resolution of the artistic process.
Kohler combines an unusual method of painting in oils on tile grout, with a more orthodox painting technique that constitutes a painterly realism. He incorporates rusted, found objects, generally separating them from the painted areas. A convincing painter he should be wary of concepts that come uncomfortably close to cliché: his visual realisation of roots as rusty being an example.
While most artists reveal strong graphic inclinations Shuku is undisputedly more painter than anything else. His gestures are almost flamboyant, a 'wild' emotive style that communicates urgency, chaos, disintegration and fragmentation. He is less successful in his inclusion of small, circular, decorative details, presumably as a contrast to his audacious, explosive brushstrokes, as these come across as superfluous doodles that add little value to his works.
Overall Umsi is a coherent and inspiring group exhibition. It boldly affirms the relevance of painting for an emerging generation who are determined to make their mark as socially concerned and professionally motivated artists.
Mario Pissarra 30 January 2006
[All quotes come from artists' statements accompanying the exhibition.]
NB An edited version of this review appeared in Art South Africa vol 4 no 3, 2006