acrylic on canvas

Artwork date: 1999
Signature details: signed and dated bottom right
Location: Cape Town

(1)

220 x 169 x 5 cm

Provenance:

Private collection, Cape Town.

ABOUT THE ARTWORK

Mzimba used his brush and canvas to restore the dignity and stature of Africans^{. [1]}

Thebe Ikalafeng’s obituary after Velaphi Mzimba’s sudden death in 2021 aptly detailed the importance of the artist’s work within the broader South African political and artistic landscape. Mzimba emerged at the zenith of his career during the 1980s and 90s, a period when South African people of colour were marginalised from broader societal spheres. Born into a family all too familiar with these struggles, with his mother Violet working as a domestic worker and his father Peter as a driver, Mzimba intimately understood the complexities of apartheid-era South Africa.

At the heart of Mzimba's artistic mission was a revolutionary act: to shatter barriers, and place Africans in the 'hallowed' spaces typically reserved for the oppressor. Through his work, he not only gained access to homes, boardrooms, and hotels but also captivated the attention of those who previously overlooked African talent.^[2]

Upon first encountering the painting, Nomvula, one is immediately reminded of Johannes Vermeer’s iconic Girl with a Pearl Earring. The high contrast chiaroscuro executed in both works, as well as the subtle palette of rich blues and warm yellows and golds, lends the pieces a certain likeness. Much like the renowned Dutch artist’s work, Mzimba's portraits exude a captivating allure, drawing viewers into the enigmatic gaze of his subjects. However, Mzimba's work goes beyond mere aesthetic admiration; it challenges historical norms by placing a person of colour in a historically significant image, positioning the subjects on the same pedestal, long reserved for European artists and sitters. Through his meticulously crafted portraits, characterised by intricate textures and monumental scale, Mzimba confronts societal perceptions and demands recognition for African narratives. His deliberate choice to imbue his subjects with a penetrating gaze serves as a poignant reminder of the watchful scrutiny under which many people of colour existed during Apartheid.

Johannes Vermeer |The Girl With the Pearl Earring (1665)

Mzimba's choice to incorporate extensive texture into his works and execute them on large canvases allowed him to add depth and dimension to his subjects, elevating them beyond just representations, to evoke tangible emotions and experiences. The large formats also command attention, demanding viewers to confront the presence and significance of the individuals he portrayed on a grand scale. Through his deliberate artistic choices, Mzimba not only challenges societal norms but also ensures that African voices and perspectives are impossible to ignore.

^{[1] Ikalafeng, T (2021). OBITUARY: VELAPHI MZIMBA, Everard Read [O]. Available: https://www.everardlondon.com/artist/VELAPHI_MZIMBA/news/. Accessed 20 May 2024.}

^{[2] Ibid}

^COLLECTIONS:

The artist is represented in numerous local and international collections, notably, the Fort Hare University collection, Alice; Sanlam Art Collection, Johannesburg and the Dallas Museum.