Call for artists to exhibit in the upcoming Heritage exhibtion

We are looking for artists to participate in our upcoming Heritage themed exhibition in September. Kindly email your portfolio’s alongside your resume/cv through to <>    

The closing date for email entries is 30th of August 2013. we will consider viewing your artwork if you wish to set an appointment at our gallery 6979 Nex Dor Vilakazi Street, Orlando West, Soweto. kindly contact Roli Mhlanga on 074 273 5962

Nompulelelo Ngoma


Nompumelelo Ngoma was born in Soweto. She currently resides in Jabulani. She studied fine art at the South West Gauteng College and finished an N4 course in 2004. In 2006 she worked at the Standard bank Gallery as a tour guide for the Picasso and Walter Battiss Exhibitions. She later enrolled at Artist Proof Studio and finished a three year course in Printmaking. In 2008 she was awarded an award by Linda Givon then of Goodman Gallery. She furthered her studies in Fine Art at the University of Johannesburg from 2009-2011 and she graduated for her National Diploma in Fine Art. She is currently enrolled as a Post Graduate student for B-Tech Fine Art at the University of Johannesburg, where she assists with the Artist Proof and Johannesburg Gallery retrospective exhibition.

“My work interrogates the custom of Lobola which is involved in African traditional marriages. In my paintings I explore Issues of femininity, identity and gender, as I question the notion of domesticity and vulnerability within the context of African tradition. These issues propel me to locate who I am and where I fit in a westernised society as a woman confronted by the reality of an African tradition
The feminist aspects such as subservience and the gaze come into play as I attempt to unpack the underlying issues that resonate within the culture of give and take; lobola to be precise. The prominent subject matter in my work is the bride and the cow which is the bride price. The bride price is depicted in either as hanging meat carcass, skulls or the head of cow. I thus begin to formulate a relationship between the bride and the cow. The traditional framework of marriage therefore becomes a space of fear and unease that the protagonist bride enters.
In my paintings I become the protagonist bride that is confronted with the mentioned issues. In my paintings I use my self-portrait as a subject, which thus becomes an object subjected to these underlying issues. I use my self-portrait as a point of reference for my source material where I undergo the process of embodying certain characters
Playing with the idea of the gaze, in my paintings I am either boldly present or shying away from the viewer’s gaze. The reason why I include the idea of the gaze in my paintings is that I aim to explore and subvert the notion of being perceived as an object of men’s desire as it constitutes subservience.
In my work I find myself striving to embrace these cultural values but it becomes difficult because of how these values subsequently perceive black women’s identity as inferior. I therefore find myself caught up between traditional, culture and my values, and the influences of hybridity given the fact that I can negotiate my identity as a woman.
The idea of a white gown is a statement on the western ideals which the African culture borrows from, and also the conflict that resonates with the idea of embracing culture in a westernised society.”

Lerato Motau


Lerato Motau lives on Vilakazi Street, Orlando West in Soweto.she has obtained a Fine Arts and Teaching – Diploma from the Johannesburg Art Foundation in 1998. In 2004 she received an – NQ4 Certificate in Craft Enterprise from the Craft Council. In 2005, she qualified with an NQF4 Certificate in Basic Embroidery and also attended a handmade feltmaking workshop in the same year.

Motau has had one solo exhibition in 2010 and will have her second solo in October of 2012. Her work has featured in a number of group exhibitions. Internationally, she was represented in exhibitions that showed in Beijing, China and Finland.
Motau was the resident artist at the Greatmore Studios in Cape Town from September to November 2007. Her work is features in a number of corporate collections including; Nando’s UK, Absa, Pikit-Up, SA Breweries and Equity Africa in Jhb as well as DBSA Deotswana in Botswana.
Public Commissions include a BRT Station in Maraisburg, Johannesburg completed in 2011 and a public artwork situated on the corner of Vilakzi and Makgete Streets in Orlando West, completed in 2010 for the Vilakazi Street Development Project.

Motau is actively involved in two collectives. They are: Tourism Entrepreneur Partnership, Hidden Treasures based in Johannesburg and the So we too, which are a collective of seven Soweto based companies.

The concept is inspired by gifts brought from my children. My three year old daughter presented me with drawings with circles and I was assisting my nine year old with homework regarding the planets. The circular form has resonated with me. I am fascinated by the roundness and wholeness of this two dimensional shape, and the globe or orb as a three-dimensional form. It reminds me of my own life circle and life cycle as I think of myself as a child, adult and in future an elderly woman. This has resulted in a series of works that explore the circle as a shape and form in a universal, planetary context.

Embroidery and particularly the act of stitching is important in my work, where each stitch is a symbolic journey. In some areas the form is created almost entirely from the stitches. I have also begun to introduce circular found objects (like metal earings) and found patterns in fabric, into the artworks. The decision to collect and include them is informed by their aesthetic qualities. The details on the found fabric further dictate the added intervention. For example, a fabric containing stars, prompted the stitching of more abstract star shapes.

The simplicity of the designs are intentional. Forms like planets and stars are reduced to their most basic shape, which for me is a reminder of how these appeared to me as a child, and how my own children now see these concepts. The complexity of these ideas are not accessible to them, and I enjoy this innocence.
While some of the works are monotone, using different shades of one colour, others are quite florescent. I love the brightness of these luminous tones, where I refer to them as “mashangane colours”. Associations of bright colours as well as embroidery are related to Shangaan people, which is inherent in my own ancestory.

Paballo Kumalo


Paballo MrsVice Kumalo, an activist through art. She is greatly influenced by the sheer loving, curious, enthusiastic nature of children. Always asking questions and eager to learn. But most of all she admires the fearlessness of these beings. “I choose photography,most times, as my medium for sharing, addressing issues in Hope of helping everyone understand that less is more and the huge impact our ignorance has on young minds”.

Paballo photography focuses on the fact that, too often children dwindle under pressure from parents to behave a certain way, dress a certain way and even speak a certain way. They are not given room to grow and explore their true selves. They’re limited to boxes that allow very little freedom and taught specific patterns. Too often they are told that their reality is imagination.
She states: ”I am that child, a child who is in constant battle with what I think is right and what I was taught”.
“Through my work I ask Why is it so hard to let the children be”?

Let’s revel in the female spirit!

Since the beginning of time, to our present day and age, women throughout the world have taken part in the arts in numerous diverse and stimulating ways.  Whether as creators and innovators of various forms of artistic expression, important patrons and collectors, or noteworthy contributors to the discipline of art history, women have been and continue to play a fundamental role in the institution of art.

For the most part, however, traditional art history has methodically excluded or masked women’s contribution in the arts, especially the visual arts. Hence, in the spirit of Women’s Month, Mashumi Art Projects presents the “Pink Art Exhibition”, an exhibition that will feature an all-female artist display.

From visual artists specializing in photography (Paballo ‘MrsVice’ Kumalo), fine art ( Desiree Motene & Nompumelelo Ngoma & Kgalalelo Gaitate) and embroidery (Lerato Mohau), to poets (Mendisa Ngalo & Dimakatso Sebolai) and live music by the ‘Femine Touch Series’, this exhibition aims to celebrate, promote and recognize women artists. Not only will every distinct artwork serve the purpose of being an artistic manifestation of self-expression, but also as a counter to the bias regarding women’s role in society and the arts.

Join us for some wine, art and entertainment at the Nex Dor restaurant, 6979 Vilakazi Street, Orlando West on the 15th of August, Time: 18H30 for 19H30. Let’s revel in the female spirit!pink Exhibition

Simphiwe Nkosi (@Jay_LynnZA)