We speak to a new generation of printmakers turning heads in the South African art world.
WORDS Dumisani Mnisi PHOTOS Supplied
From woodcutting to etching, monotypes and lithography, printmaking has always been a space for experimentation. And while its techniques may be rooted in tradition, a new wave of South African artists is pushing them in bold, unexpected directions. We meet four printmakers bringing fresh energy to the medium.
Lazi Mathebula
A self-described architect of culture, Lazi is an award-winning illustrator and designer. He pushes limits by experimenting with printmaking to create innovative works that breathe life into any space. His work spans the creative industry via collaborations with brands like Kellogg’s, Ricoff y and Martell. He’s also had solo shows at Kalashnikovv Gallery and Artist Proof Studio, and currently runs an apparel brand called Beautiful Things.
“When it comes to themes in my work, I’m drawn to the African and South African experience and history, and the diverse realities of black life. Growing up, I often imagined what Sophiatown was like – the music, the culture, the spirit of the place. For example, my fourth solo exhibition, “Bekumnandi Sisonke”, was deeply inspired by the songs and energy of Sophiatown. The music shaped the collection, inviting viewers to imagine the space and piece together images that tell its story. I also research different formats to best express what I’m trying to convey.
“For me, the process depends on what I’m trying to achieve and the formats I’m exploring. My background is digital, but I’m experimenting with different materials and their limitations compared to digital. I’ve made concrete prints, which translate differently than paper, both in texture and weight. I’ve also explored starting with a print on paper and folding it into origami sculptures, turning print into a three- dimensional form. I’m about pushing the practice further, and it’s been rewarding.
“I believe in extension – creating work that can exist across different spaces. Some people can’t afford a R50 000 painting, but can aff ord a R500 T-shirt. I believe in tiered practice, channelling energy into different scales.
“As an artist, my newest work is always my best. I refine my craft with every piece. Right now, my best work is the structure I’m building – a cabin on a farm. It’s a work of art in itself, as architecture is another form I’m passionate about.
“I don’t see art in categories, but as a tool to tell different stories.” | @bombisa
Kylie Wentzel
For Kylie, it’s all about colour and shape – creating prints that celebrate bold forms and vibrant hues. Winner of the Emerging Painting Invitational Residency Prize in Angola (2020), she has four solo shows under her belt, and her work has been exhibited at Kalashnikovv Gallery and Zeitz MOCAA among others. Her practice draws inspiration from her environment – both natural and urban – reimagining the people, creatures, objects, sounds and smells that surround her.
“Lino cutting was my entry point into printmaking. I love the aesthetic of lino prints, but I felt a desire for a looser way of working – which painting naturally allows. So I’ve landed in this kind of hybrid space between the two.
“The process keeps evolving. Lately, I’ve been exploring monotypes with Art Print Studio in Durban, which is such a beautiful, painterly form of printmaking. I’ve also started working with 50ty/50ty Prints, who have been creating hand-pulled screen prints from some of my paintings.
“Something always has to inform the idea of a new work, whether it’s a person I’ve come across or a moment that I’ve witnessed. Sometimes, it’s less obvious – a curious shape, or a line of text etched into a street pillar. I don’t sketch out the final piece, because the process is never linear. I’ve realised that each step needs to be fuelled by feeling.
“Right now, I’m in an exploratory phase after a long and diffi cult year of creative burnout. I’m releasing work slowly, and mostly just enjoying playing in isolation. For now, it’s just for me – but I’ll reconnect with the world again soon!” | @k.vventzel
Balekane Legoabe
With a background in illustration and graphic design, Balekane jokes that she approached printmaking backwards, starting with digital before exploring traditional techniques. Now based in Cape Town, the multidisciplinary artist exhibited at Investec Cape Town Art Fair in 2024, and her work can be found on platforms such as Latitudes Online and Artsy. For Balekane, exploring techniques is key to bringing her pieces to life. introduced to traditional printmaking in
“My art practice can be divided into three equal parts: painting; ink and graphite; and printmaking. I was only introduced to traditional printmaking in 2023, when I worked with Bevan de Wet to create an 11-piece series of etchings and watercolour monotypes. That’s what I’m exploring now.
“Digital and traditional printmaking are quite similar in process, but the techniques differ. With digital, the layering is done in Photoshop, with images sent to a file. Traditional printmaking is all manual – inking, pressing, the whole process. It’s lengthier, but both are very technical.
“I can’t choose between the two. Digital feels like home because it’s where I started, but traditional is far more natural – and fascinating. Digital is also more forgiving – you can just hit ‘Command+Z’; whereas traditional is a new process for me. I love seeing how they mirror each other.
“I’m obsessed with creating work that captures a feeling of discovering something old, sacred and spiritually meaningful. I want my work to evoke a feeling beyond vocabulary – a collision between what we know on a mental- technical level, and what we know on a soulful-spiritual level.
“My favourite piece is always the one I’m currently working on.
“My most recent collaboration is with Rain, the data service provider. I created a router skin for their devices. | @bale__art
Sizwe Khoza
With his recent exhibition at Keyes Art Mile still on everyone’s lips, and new work showing at Latitudes Art Fair 2025, Sizwe is a man on a mission. A contemporary visual artist working in painting and monotype printmaking, his practice is rooted in memory, identity and the rituals of everyday black life.
“My printmaking practice centres on monotype, a technique that demands both planning and precision. It starts with taking photographs for reference, followed by careful composition and colour decisions. Working with my print technician, we build each piece by manipulating ink directly on a plate.
“My work focuses on portraits of black people because I’m drawing from my own experiences and identity. Early in my career, I was advised to create what I know and can relate to; that allowed me to authentically explore allowed me to authentically explore themes and subjects that matter to me.
“I don’t have a single favourite piece. Instead, I always look forward to the next one. I fi nd excitement in the process itself, and in the anticipation of what’s still to come. That mindset keeps my creativity fresh.
“The South African art scene has grown impressively, and become much more knowledgeable about printmaking. In the past, collectors and buyers oft en misunderstood prints, assuming that they were not original works. Artists had to explain the process. Now, there’s a greater appreciation for the technique – and for the value of original prints.” | @sizwekhozaarts
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