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Image courtesy of Matt Dutile / Southern Guild
CUBIST ECHOES ON CONTEMPORARY NARRATIVES
In the studio with figurative painter, Mmangaliso Nzuza
Meet Mmangoliso Nzuza, a young yet commanding force in Cape Town’s art scene. His rise has been swift, his work impossible to overlook.
After a breakout moment at the Investec Cape Town Art Fair 2024 with THK Gallery, Mmangaliso Nzuza’s name quickly shot to the top of every must-see list. This was followed by a powerful solo exhibition at Southern Guild towards the end of 2024 and another standout ICTAF appearance in February 2025, firmly establishing him as one of Cape Town’s most sought-after artists. Today, the queue for a Nzuza work could stretch the length of Table Mountain and back.
Born in KwaZulu-Natal in 1998, Mmangoliso—who often goes by Mmango—arrived at painting by way of an unexpected journey. He first pursued an MA (Hons) in Government, Policy, and Society at the University of Edinburgh before discovering the power of oil painting in the quiet of the pandemic. Back home, surrounded by the sun-drenched fields and the familiar narratives of community and custom that shaped his childhood, Nzuza’s artistic voice began to take shape.
I’ve always been drawn to art and art-making. I grew up in a household that valued objects and experiences of beauty. I only really began painting in the quiet of the pandemic. Oil paint is so versatile and richly textural. It felt like a medium which allowed me to express my emotions and ideas in a more profound and tactile way. Oils gave me the opportunity to create layers and achieve the depth and vibrancy I desired in my work. Its slow-drying nature provided time to refine and alter works. My practice touches on themes of identity, culture and the wider human experience. Oil paint became a fitting vehicle for capturing the nuance of these wide-ranging concerns.
Growing up in KwaZulu-Natal must have influenced your creative perspective in certain ways. Do you see traces of your upbringing in your work today?
Absolutely. Growing up in KwaZulu-Natal has had a deep influence on my creative perspective. The rich cultural heritage of my family, the Zulu people and their sense of community, the abundant natural landscapes, and the dynamic energy of the region have all shaped my worldview. I’ve always been surrounded by a mix of traditional customs and Christian values, vibrant colours and diverse expressions of self. There's a rhythm and a narrative storytelling in what I do. It’s a blend of cultural pride and connection to the environment that informs my artistic approach.
As a self-taught artist, how has your relationship with oil painting evolved over time?
As a self-taught artist, my relationship with oil painting has evolved through a process of experimentation, learning from mistakes, and pushing the boundaries of what I thought was possible. At first, it felt like an intimidating medium because of its slow drying time and the techniques I wanted to master. I began using pencil or charcoal, sketching mundane still life objects at home or during my high school art classes. As I developed my practice, I began to appreciate the layers and depth that oil paints could create. Over time, I've learned how to control the medium, whether by using glazes, thick impasto, or blending techniques. This has given me more freedom and confidence to express my emotions and ideas. Being largely self-taught meant I had to rely heavily on trial and error. I was dedicated to refining my relationship with the medium. I began to appreciate the slow-dying process; I resonate with the attention and patience it requires. I’ve learned to embrace the slow, methodical nature of the medium, and I’ve also come to appreciate its forgiving qualities, where I can always go back and rework an area. I believe oil painting demands a lifelong journey, a changing exchange with the material. The medium continues to surprise me, and that sense of discovery is what keeps me coming back to it. I am always the student.
I am reliant on sensory experiences and emotions that have come to shape my process. Travel has become so much more than time to discover and rest. I have subconsciously been bringing those novel and foreign experiences – the sights, sounds, colours, textures, people, culture - into my work. Whether it's the light and landscape of a specific environment, the architecture of a city, the natural world, or the tones, patterns and symbolism I come across, these encounters have influenced my work in so many ways. Similarly, personal milestones like love, loss, or transformation can deeply impact the emotional tone of the work, too.
Your work references early 20th-century Cubism, with echoes of Cézanne, Picasso, and Braque. What draws you to the Cubist visual language, and are these artists a direct influence?
Cubism has such a rich, layered history. The way Cubism breaks down objects into geometric forms viewed from multiple perspectives, resonates with the idea of perceiving the world in both a fragmented and more dynamic way. What fascinates me about the movement is how so many of its pioneers moved away from traditional representation with the desire to express a deeper understanding of form, space and light. I appreciate these artists’ approach to breaking down and reconstructing visual space. African art had a profound influence on the development of Cubism, too. Art and art-objects from the continent were then often referred to as “primitive” in a time period where European artists sought inspiration from non-Western art forms. It feels essential to deconstruct the colonial connotations at the heart of this categorisation. As a Black African artist, this has become a motivator in reclaiming a medium that is most often associated with painting traditions of the west. The emphasis on abstraction, symbolism and representation allows me to assert my own distinct cultural perspective.
Image courtesy of Lea Craffod / Southern Guild
Your career has grown rapidly, and demand for your work is stronger than ever! How do you think such success has influenced your creative process, if at all?
I am incredibly grateful for the support from my gallery as well as the collectors and wider audience that engage so intentionally with my work. As demand grows, there’s often more pressure to create consistently, and so the balance between personal vision and external expectations might become more delicate. I have learned to trust my own intuition and focus on reflection and intent through interactions with other established and emerging artists that I’ve met on my journey so far. I return to ask myself questions like:
“What am I trying to say?”
“Am I enjoying the process?”
“Am I staying true to my original vision?”
I am committed to sustaining my authenticity. I am thankful not only for my family and friends, but the community of artists that surround and ground me.
As your work is reaching a global audience, how do you hope it will be received on the international stage?
I hope it resonates on a deeply human level, no matter the cultural or geographic differences. The beauty of art is its ability to transcend boundaries and spark connections between people who might not share the same background, but who can find common ground in universal themes like identity, emotion, kinship or the fragility of life. I hope my work is seen as a bridge, one that connects local contexts with broader, more global narratives. I’d like it to invite conversation and reflection, to engage viewers in ways that allow them to see the world, or themselves, in a new light.
What advice would you give to emerging artists in Cape Town today?
I have always found this question difficult to answer as I am still learning, growing and trying to better navigate the changing landscape of the arts space. To other young artists I say: stay resilient. Beginning your artistic career comes with challenges, whether it’s dealing with self-doubt, financial constraints, or navigating the competitive nature of the art world. Resilience is key. Keep creating, keep pushing yourself, and remember that the process itself is just as important as the end result. Each experience, whether good or bad, contributes to your growth as an artist.
Secondly: build a community. Invest in cultivating a network of individuals who will be there
to support, advise and encourage. And lastly: it’s paramount to stay true to your voice.
Images courtesy of Hayden Phipps & lea Crafford / Southern Guild
@southernguildgallery