With a new retrospective staring in February in her home town, Esther Mahlangu has had an unlikely journey.
Not only did she go from practicing traditional painting in her small village to becoming an artist of global renown, she also brought Ndebele culture to the world with her big, bold patterns. And she inadvertently broke barriers in the art world, though that was far from her true pursuit of creating beautiful artwork.
Mahlangu was born in 1935 in Middleburg, Mpumalanga, South Africa, a place where art held a different type of significance than it does in the West. As part of the Southern Ndebele people, Mahlangu was taught the Ndebele’s artistic traditions when she was 10 years old. As part of the culture, all girls are taught by their mothers and grandmothers how to paint murals, a technique they use to paint their homes. The results are colorful, geometric shapes with strong borders that are both joyful and beautiful to observe. But for the Ndebele people, they mean much more. Much like the clothing and beadwork that also define the Ndebele culture, shapes, lines, and colors are used to express and symbolize significant events in a person’s life. Thus the quality of the paintings can affect the perception and reputation of the painter.
Though this skill is learned by women across the culture, Mahlangu took particular interest in painting, to the point that she would get in trouble for painting too much. But eventually her mother and grandmother fostered her passion, giving her space to hone her craft until she was ready to paint a house. It would be decades before the world outside Mpumalanga took notice of Mahlangu’s skill, and by that point, she was an expert in her craft. She exhibited in Paris in 1989, which resulted in her first international recognition, before engaging in exhibitions and collaborations unheard of in her culture. The most famous of those was her commission to paint a BMW Art Car in 1991; she was the first woman to partake in the series, which had already included Andy Warhol, Alexander Calder, and Roy Lichtenstein, among other notable names. She’s since collaborated with John Legend on a Belvedere bottle design, did a fashion collaboration with Stockholm label Eytys, and imposed her designs on the interior of a Rolls Royce Phantom—“the Mahlangu Phantom.”
Now 88, Mahlangu is one of the most famous South African artists in the world; even more impressive is that her fame derives from an art form that is distinctly female—a rarity in itself. Despite this global interest, she remains in Mabhoko Village in Mpumalanga, where she is still impassioned by the artistry of her culture. She opened a school that teaches girls painting and beadwork, preserving the traditions that brought the world to her, and her masterful work to the world.
Gautam Balasundar: It’s traditional in Ndebele culture for women to learn these artistic styles for painting homes. When did you decide to turn this tradition into standalone artworks that are separate from the home?
Esther Mahlangu: My first real international exposure was when I was invited to participate in the exhibition Les Magiciens de la Terre at the Pompidou in Paris in 1989. This involved me painting a replica of my home that was erected within the exhibition space. In 1991 I became the first woman and the first African to be invited to participate in the BMW Art Car Collection. My Art Car was extremely well received and generated much media and other exposure and collectors started asking for paintings on canvas. I realized that by reimagining Ndebele design on contemporary mediums, I could expose my art to larger global audiences. This has led me to painting mining and war helmets, motor bikes and bicycles, mannequins, Absolut Vodka bottles, and many other things over the years.
GB: Were you always encouraged or supported when you began to share this art outside Mabhoko?
EM: My nation is proud of what I have achieved and has been very supportive as I have traveled extensively as an ambassador of the Ndebele nation. My decision to reimagine Ndebele design that was traditionally used for the decoration of homes on more contemporary mediums was something unique, and I have sometimes been called a disruptor and innovator. But in general, I have been privileged to have the support, love, and respect of the Ndebele nation.
“I have sometimes been called a disruptor and innovator. But in general, I have been privileged to have the support, love, and respect of the Ndebele nation.”
GB: Your Ndebele painting style was traditionally passed down from mother to daughter. Is that the same today, or are you seeing boys embrace this art form as well?
EM: Ndebele painting was handed down from mother to daughter for the painting of homes, but this has changed in more modern times as we see more men experimenting with Ndebele design in painting, fashion, and interior and home decor, among other art forms.
GB: When you share your work with other parts of the world, are you worried that they will only see the image without understanding the cultural traditions it comes from?
EM: When people around the world see my artwork they typically hear my story and that of my people, the Ndebele. I am pleased when they see the beauty in the artwork and that I am able to contribute in some way to ensuring that the arts of the Ndebele will live on.
GB: As your work has become global, it takes on importance because it comes from a female artist using an art style that was developed entirely by women in a world that has historically celebrated male artists. Is this something you consider or value?
EM: While I acknowledge the many challenges that women have faced in terms of their recognition in the arts and most other sectors, I don’t see my success [as something that happened] despite me being a woman. I am proud of the artworks that I have created and my achievements over the years and can only hope that they bring much joy and inspiration to women and men alike so that they can strive to achieve global acclaim despite enormous challenges.
“While I acknowledge the many challenges that women have faced in terms of their recognition in the arts and most other sectors, I don’t see my success [as something that happened] despite me being a woman.”
GB: You come from a place that is very traditional, but you’ve also seen different cultures around the world and embraced modernity in some ways. Has that changed your view on the roles of women and men?
EM: My husband and children sadly passed away long before me, and I have spent many years as the head of my household I know the power of women and how much they can achieve and yet still respect the Ndebele traditions.
GB: In your opinion, what is the value of preserving traditions, especially in a world that is changing so quickly?
EM: Traditions keep one grounded, and families and communities unified. They provide discipline and guidelines for us to adhere to, and our failure to respect our traditions has led to many of the problems that society now faces.
GB: Do you enjoy other types of artwork, whether historical or modern? Has that influenced your paintings or made you curious to paint in other styles?
EM: I enjoy other types of artwork and genres like music, but I have never been tempted to paint in other styles. My focus has always been on creating works inspired by Ndebele design.
GB: Have you witnessed the Ndebele style change or evolve, especially as it has received more exposure because of your work? Do you think the style will change over time?
EM: We used to paint in natural pigments, but technology provided us with the opportunity to use paints that are much hardier and provide a much larger and more exciting color palette,which is presented in my works. However, my work remains grounded in the principles of balance, created through the mirroring of shapes and colors.
Images courtesy of @clintstrydomphotography.This article first appeared in our Gender issue. The Esther Mahlangu, A Retrospective opens February 18th at Iziko South African National Gallery.
