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Images courtesy of Boemo Diale / Kalashnikovv Gallery
THE RISE & RISE OF BOEMO DIALE
A studio conversationIf you haven’t heard of Boemo Diale or seen her work, where have you been?! At just 24, she’s already far beyond the label of ‘emerging’ in South Africa’s art scene. Represented by the edgy and experimental Kalashnikovv Gallery, Diale was catapulted into the spotlight after she:
A) Was selected to present her work in the Tomorrow’s/Today section of the 2024 Investec Cape Town Art Fair.
B) Then won the section’s top prize - awarded to the most promising young and underrepresented artist within the curated section.
Since then, she has solidified her presence with two solo exhibitions - first at Everard Read, then at Kalashnikovv - before collaborating with ICTAF 2025 on a limited edition of silk-printed scarves, totes, and notebooks, showcased in the ‘Boemo Lounge’ at the fair. All of which have further cemented her reputation as one of Cape Town’s most talked about young artists.
Diale’s work is a deeply felt exploration of self - where she comes from, what she carries, and how she exists within shifting structures of race, history, and belonging. Her figures, dark-skinned and full-bodied, push up against the edges of the canvas or find themselves contained within vessels, caught between confinement and release. They inhabit luminous, layered worlds where ancient symbols, graffiti, and dreamlike landscapes merge - spaces that feel both ancestral and fiercely contemporary.
Her work clearly reverberates through Cape Town’s art circles and beyond, striking a chord with audiences across the country. But reaching beyond South Africa’s borders and into the global arena is a different challenge altogether. With an upcoming residency in Shanghai, China, Diale is stepping into that next chapter. In a wider conversation with THE UPTICK, Diale reflects on her artistic journey, tips for emerging artists and her own ambitions for the future.
I’m Boemo Diale, a multidisciplinary artist based in Johannesburg, South Africa. My journey into art has been an interesting one. I’ve always been drawn to the arts and culture, but a lot of my creative path has been about navigating liminal spaces - moving between rural, urban, and suburban environments. This led me to question access and space, exploring these ideas through beautification and a childlike way of seeing the world. Many of my early inspirations came from the women in my life - my mother, aunts, cousins, and sisters - and how they existed in the South African landscape, constantly moving between different spaces. I was also always painting and deeply interested in art. At the same time, I was DJ-ing in Joburg’s creative scene, and my first show with Kalashnikovv Gallery in 2021 was a turning point for me.
How did you first connect with Kalashnikovv?
Honestly, through parties! I bartended and waitressed in Melville, so I met a lot of people. Living in a creative hub, you naturally cross paths with artists, gallerists, and curators. Friendships form, and opportunities follow.
You studied television and film at Wits - do you think that influenced how you communicate narratives in your work?
Definitely. Film school introduced me to storytelling structures, archetypes, and theories like Carl Jung’s hero’s journey. It taught me how stories have entire worlds within a single frame. That carries over into my paintings. Many of them feel like scenes - like a bedroom, a bathroom, a kitchen. I think of them almost like film stills, capturing a moment in time.
Women feature strongly in your work. Can you tell me more about that? How did the women in your life shape your artistic vision?
Growing up, I watched the women in my family move between different worlds. My mother and grandmother carried themselves with grace and resilience in these spaces, which really inspired me. There was this idea of beautifying pain, facing struggles but still prioritising beauty and care. Even in difficult circumstances, they found ways to express themselves -through dressing up, through their presence, through creating warmth in their homes. My mom was an interior designer, so our home was always filled with beautiful objects. There was a deep awareness of how spaces shape our emotions. That stayed with me. It made me realise that through art and beauty, even trauma can be transformed, and new realities can be imagined.
That’s such a powerful perspective. It’s amazing how your work translates those ideas into visual form. Thank you for sharing that. What’s so striking is that even though it’s deeply personal, it resonates beyond just you. Are you hoping that your work and its messages reach women globally, or is it more about telling a specific women's narrative?
I’ve said this so many times, but my story isn’t unique. So many people have felt displaced, whether in their country, their world, or within themselves. That’s what happens in the wake of oppression, colonisation, apartheid - these histories shape access, privilege, and identity. I think a lot of people can relate to that. But I’m not necessarily trying to create a conversation about privilege in the conventional sense. I don’t think I’m fully equipped to articulate that in the way I’d want to - not yet. Instead, I think of my work as tapping into something broader: prayer, manifestation, overcoming circumstances. Those themes transcend personal history and speak to many people.
That makes so much sense. And speaking of your work, I noticed that the vessel plays a significant role in your practice. It was particularly prominent in Tomorrow’s Today, but this year at ICTAF 2025, your figures seemed more open, existing in wider spaces. Can you talk about that shift - how you’ve moved, not away from the vessel, but rather taken the woman out of it?
It’s a natural evolution. Because my work is personal, it shifts as I grow. I try to keep a consistent thread running through so the pieces still speak to each other. My first presentation focused on permaculture, the idea of an ecosystem where plants and farmers feed into each other. But in my interpretation, Black bodies were part of that system, symbolising how the world isn’t set up for Black women to thrive. It was almost an anti-permaculture statement. That’s where the vessel came in- a space for new narratives and realities, a womb, a container. Over time, I started thinking about interiors and how these figures inhabit spaces. I asked myself: what do they do with the tools they’ve created? That led me to explore borders - literal and figurative - as forms of protection. And now, maybe it’s just growth. I’ve realised that I don’t need that intense protection all the time. The vessel and the border serve the same purpose, so maybe I don’t need both. Maybe it’s enough to simply exist in openness.
Yes, that’s really beautiful. I’ve also seen that you’re delving into ceramics, planning to create ceramic vessels to accompany your painted pieces. Is that true? Are you moving into the ceramic space?
Yes, it’s true! It’s been so fulfilling to watch the vessel come out of an image. We’re talking about manifestation, and then having the physical vessel is like taking that conversation to the next level. The object exists in the world, and you can use it. I’m really enjoying the tactile process of working with my hands. It’s different, and it takes things to a whole new level. I wouldn’t want to smash the pieces, though! (laughs) I’m really enjoying the process.
And let’s talk about you winning the Tomorrow’s Today Prize. That was huge. I’ve been following your work ever since. Can you tell me about that experience and the impact it’s had on your career?
Honestly, it was a cool moment. Even before the prize, I was happy with how my career was progressing. Winning it came as a bit of a shock, though, but it’s been very affirming. What’s amazing is that it opened doors to a bigger network of people. I can go to fairs now and not feel shy. It’s boosted my confidence and encouraged me to make bigger work. Now I feel like my practice could really grow - I could expand my studio, bring in help. It’s given me the courage to think bigger.
I hear you’re going to complete a residency in Shanghai, China soon. That’s exciting! Can you tell me about that? What does it mean for you to work overseas, and how do you hope it will impact your career?
Yes, I was encouraged to apply by a friend. It took me a while because I wasn’t sure if I was ready for rejection. But after the prize, I thought, “Okay, let’s give it a shot.” Now it’s all coming together. For me, the main goal is to learn how to talk about my work in a completely different context - talking to people of different races, genders, ages. It’s exciting to step out of my comfort zone and interact with people who might not speak English or share a common language. It’s about personal growth and pushing boundaries, embracing the fear of it all.
That’s exciting! Shifting the lens and seeing how your work resonates in a new context is powerful. After the residency, what are your hopes for the next few years?
I’d love to grow my practice and space. Ideally, I’d have a bigger studio and have more resources to make larger works. On a personal level, I’d love to live abroad for a bit, see how my work would change in a new city. I want to continue doing residencies and connecting with people globally. Solo shows in places like London and Miami would be incredible in the next five years.
What do you think are the biggest hurdles for South African artists, especially emerging ones?
It’s tough. There’s a level of gatekeeping in the art world here that can make it intimidating. Resources are limited, studio spaces are expensive, and it’s hard to get the support you need. But there are a lot of galleries here willing to take chances on young artists, so there’s definitely opportunity, though navigating it is challenging.
Cape Town and Johannesburg have very different vibes. How do you see the differences between the two cities in terms of the art scene?
I have a stronger base in Cape Town, especially with collectors. The city has become more of an international hub, and there’s more access to opportunities. Johannesburg feels more disconnected to me - it’s fragmented. It’s great in its own way, but there’s a sense of isolation. There’s an electricity to Joburg, however that you perhaps don't feel in the same way in Cape Town, but I feel like the international reach and access in Cape Town is greater.
@kalashnikovvgallery