by Koni Benson and Thulile Gamedze
(This article is forthcoming in the next 3rd Text Africa issue, “WALLS,” guest edited by Thulile Gamedze.)
Read Moreby Thami Jali
My first encounter with mural painting happened in 1990 when I went to Britain as one of ten South African artists who were invited to paint murals at the Institute of Contemporary Arts in London. South Africa, by that time, was still divided into four provinces: Natal, Transvaal, Orange Free State and the Cape. The group included artists such as David Koloane [group leader], Helen Sebidi, Sophie Peters, Louise Almon and Bhekisani Manyoni [each artist representing their respective province]. Menzi Mchunu and myself represented Natal.
by Bren Brophy in conversation with Terry-Anne Stevenson
This text was first published by Durban Art Gallery in conjunction with the exhibition ‘Thami Jali: Restless Spirit’, 2014.
In 1904 Constantin Brancusi on arriving in Paris was forced to support himself as a dishwasher. In response to Auguste Rodin’s proposition that he work as his apprentice Brancusi immortalized his refusal noting that “Nothing grows in the shadow of a great tree”. Within the South African artistic Zeitgeist one might presume to the contrary, that a great deal of creative growth and shared inspiration takes place under the shade of great trees. Thus it was for veteran KwaZulu-Natal artists Terry-anne Stevenson and Thami Jali.
by Jenny Stretton
This text was first published by Durban Art Gallery in conjunction with the exhibition ‘Thami Jali: Restless Spirit’, 2014.
Thami Jali’s story is so much about South Africa’s recent past: the fractured nation, its diverse cultures, seemingly endless journeys and the hunger for an authentic artistic home. His search for an aesthetic he could truly call his own took him from Durban’s Clermont township to Zululand; Nelspruit; Rorke’s Drift; Johannesburg; London; New Delhi and finally back to Durban to the house he grew up in. Called a renaissance man by those who’ve watched his career Jali is multi-talented, equally at home behind the wheel or at a canvas. But it’s the way this artist has interrogated South African society that informs his vision: he’s lived on the street, eschewed popular politics for artistic integrity, and given back to his students far more than he ever took.
Proceedings of a conversation with Sfiso ka Mkame, Thami Jali, Paul Sibisi and Zamani Makhanya, moderated by Mario Pissarra, with contributions from Scott Williams and Russel Hlongwane.
Editorial note: Participants arrived at various times during the morning, leading to certain points being revisited with different inputs.
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