WORDS Gina Dionisio PHOTOS Supplied

Nando’s Creative Exchange (NCX) is the flagship artist development programme within the Nando’s Art Initiative, delivered in partnership with Spier Arts Trust. It recognises emerging fine artists from Southern Africa who demonstrate exceptional talent, providing the support they need to take the next steps in their careers.

Now in its 14th year, the programme continues to provide artists with mentorship, materials and exhibition platforms that help turn creative potential into sustainable careers. The latest exhibition, Making Space — which runs from 6 November 2025 to 20 January 2026 at HUB Gallery — features artworks by Debbie Field, Mduduzi Twala, Sello Letswalo and Fleur De Bondt. Guided by mentor Emma Willemse, they’ve each contributed a cohesive body of work exploring identity, resilience and connection.

We spoke with artist Sello Letswalo to find out more about his Nando’s Creative Exchange journey.

What motivated you to join the Nando’s Creative Exchange, and how has the experience shaped you creatively and professionally?

“What motivated me initially was knowing that NCX represents one of the most important support systems for emerging artists in South Africa. Looking at my career trajectory — the programmes I wanted to participate in each year, the growth I wanted to achieve — NCX was always on that list. It’s not just an exhibition opportunity; it’s a mentorship, a community, and a validation that your voice matters within broader artistic conversations.

“Working on this series, I experimented more boldly with scale: pieces like ‘Kids Game’ (92 × 159 cm) are among the largest I’ve created. I pushed my understanding of how rust and metal can collaborate with painted imagery, creating works where the material itself tells part of the story. The weathered texture isn’t just aesthetic; it carries the histories and scars of the places and people I’m painting.

“Professionally, NCX taught me about sustainability and discipline. I was balancing my studies, creating this body of work, applying for other competitions and managing personal pressures all at once. The pressure was intense, but it was necessary. Without it, I wouldn’t have learnt as much. NCX taught me how to manage multiple responsibilities while maintaining the quality and integrity of my work. It also connected me to a network of artists, curators and supporters who will continue to be valuable throughout my career.”

How did your mentorship with Emma Willemse influence your work and approach to this exhibition?

“This was my second time working with Emma, and that continuity made the mentorship even more valuable. Emma encourages experimentation and pushes you to go further than you might push yourself. She helped me develop the conceptual framework for the Mafelo series — understanding how to articulate what these spaces mean, why metal is essential as a material and how rust functions as more than decoration. Through our conversations, I began to articulate ideas that were intuitive but not yet fully formed. For instance, the concept that rust is not decay but renewal became clearer through our dialogues. Emma helped me see that the oxidation patterns on metal mirror how time and conditions shape the places we inhabit, how spaces carry scars while revealing something essential underneath.

“This mentorship influenced not just the specific works I created but how I think about my long-term development as an artist. It reinforced that art-making is both solitary and communal — you need space to work alone, but you also need trusted voices to help you see what you’re creating more clearly.”

What’s one insight or lesson from the NCX journey that will stay with you?

“The most important lesson is that making space — whether in your practice, your career or your life — requires both patience and boldness. The Mafelo series taught me this materially. You have to be patient with metal, letting it rust naturally, watching oxidation patterns emerge that you couldn’t have planned. But you also have to be bold enough to work on large scales like ‘Kids Game’, or to create intimate ceramic heads that remain intentionally unfinished.

“Another insight that will stay with me is about paying attention to overlooked spaces. The title Mafelo — the Sepedi word for ‘spaces’ or ‘places’ — anchors this work in my linguistic and cultural heritage. Through this series, I learned to ask: What might we recognise about resilience, creativity and belonging when we pay attention to the mafelo others overlook? That question extends beyond this series into how I’ll approach all future work.”

Tell us about the body of work you’re presenting at House Union Block — what stories or ideas do you explore?

“At House Union Block, I’m presenting the Mafelo series, a collection of oil paintings on reclaimed metal and ceramic sculptures exploring the lived environments in which identity, memory and community are shaped. The series includes large-scale works like ‘Kids Game’, which captures children playing with handmade toys on dirt roads — spaces where childhood creativity happens. There’s ‘Metsi Joskei’ (88 × 64 cm), inspired by games we played in the Jukskei River in Alexandra, building boats from whatever we could find and navigating the water together. That painting speaks to something universal about how water draws children in, becoming a space of play and possibility.

“The ceramic works — ‘The Thinker’ and the Head series — complement the paintings by exploring form and presence in three dimensions. These sculptures are left intentionally unfinished, some unfired, rejecting conventional expectations of ceramic art as polished and functional. What I’m really exploring is the in-between spaces: dirt roads, yellow kiosks that serve as social hubs, homesteads, beaches, rivers. These are not picturesque backdrops. They are lived spaces — sites of creativity, connection, labour and joy. A child pushing a wire car down a dirt road is claiming that space. A family with cattle in front of a thatched home is rooted in land and ancestry. These moments resist invisibility.”

Did you experiment with any new materials, techniques or concepts in this collection?

“Yes, significantly. The Mafelo series represents my most ambitious exploration of rust as both medium and collaborator. I’ve always treated steel with hydrogen peroxide, salt and vinegar to create a patina, but in this series, I pushed that relationship further. I learnt to see rust not as decay but as renewal — it eats away at metal, leaving behind patterns of unexpected beauty, much like how time and conditions shape the places we inhabit.

“In this series, I deliberately allowed rust patterns to guide compositional decisions more than before. In pieces like ‘Metsi Joskei’, the rust beneath the painted water and children creates visual tension — the material reality of scarcity and hardship existing alongside the brightness of childhood joy. The oxidation carries scars, yet reveals something essential underneath. This duality — permanence and erosion, strength and vulnerability — mirrors how spaces hold memory while constantly changing.

“The ceramic Head series and ‘The Thinker’ sculptures were experiments in three-dimensional form. By leaving them unfinished — some unfired, some partially glazed — I challenged traditional expectations. This rawness became an aesthetic and conceptual statement about authenticity and the value of the incomplete, mirroring the unfinished, ongoing nature of how we inhabit and shape our spaces.”

How did collaborating with HUB Studios influence your creative process?

“Collaborating with HUB Studios added an important dimension to how I thought about the Mafelo series. HUB itself is an industrial space with its own material history, and knowing my rust-weathered steel paintings would exist in that environment influenced my decisions. The industrial character of the venue dialogues with the industrial reality of the materials I use — metal from scrapyards and construction sites, and repurposed materials that shape township streets and rural homesteads.

“HUB’s team helped me think curatorially about how the series would function as a whole. They encouraged me to consider the relationship between the large-scale pieces like ‘Kids Game’ and ‘Badimo’ and the smaller, more intimate works like the 30 × 30 cm series. Their spatial thinking helped me understand how viewers would move through the exhibition, encountering different scales and subjects that build a cumulative understanding of Mafelo.”

What do you hope visitors take away from your work?

“First and foremost, I hope visitors genuinely recognise these spaces — not as exotic or distant, but as real, layered and significant. When they look at ‘Metsi Joskei’, I want them to see not just children in a river but to remember their own childhood freedoms, their own makeshift adventures. When they encounter ‘Cultural Cows’ or ‘Cows of the Cape’, I hope they see the pride in maintaining tradition, the continuity of ancestral practices, the dignity of rural life.

“I hope visitors begin to see materials differently. When they look at the rust on ‘Kids Game’ or ‘Badimo’, I want them to understand that rust is not decay but renewal. The oxidation patterns, the weathered texture — these aren’t flaws; they carry the histories and scars of places and people. I want viewers to see how metal speaks to resilience, weight and survival, reflecting both the industrial reality of the spaces I paint and the creative strength that grows from those environments.

“If visitors walk away thinking differently about what they consider valuable or overlooked — whether materials, places or people — then the work has succeeded. If they pay more attention to the mafelo around them, noticing the creativity and resilience in spaces they might have passed by without seeing, then I’ve achieved what I hoped.”

How has NCX helped you think differently about building a sustainable art career?

“NCX has been incredibly instructive in showing me what sustainability actually means in an artistic career. Developing the Mafelo series — more than 16 works ranging from large-scale paintings to ceramic sculptures — taught me about working in bodies of work rather than isolated pieces. This is how professional artists operate: creating cohesive series with conceptual depth that can be exhibited together, written about meaningfully and understood as part of an ongoing practice.

“One of the hardest lessons this year was learning to juggle my studies, the creation of the Mafelo series, other exhibitions, competitions and my personal life all at once. The pressure was intense, but it taught me that a sustainable career requires systems and discipline. You can’t wait for the perfect moment with no other responsibilities — you have to learn to work within constraints and manage your time strategically.

“Perhaps most importantly, NCX reinforced that sustainable careers aren’t built in isolation. Having a community of fellow artists, supportive mentors and institutional backing makes the difficult work of being an artist in South Africa more possible. Speaking on behalf of many artists, programmes like NCX are essential infrastructure.”

Has the experience opened any new doors or opportunities for you yet?

“Yes, in several significant ways. First, completing the Mafelo series and having it exhibited at House Union Block adds substantial weight to my CV and portfolio. When I apply for future opportunities — residencies, exhibitions, grants, commissions — having a cohesive, well-documented body of work from NCX demonstrates not just talent but professional capacity. This kind of institutional validation opens doors.

“The relationships I’ve built through NCX are already proving valuable. The other artists in the programme come from different networks than mine, and we’ve been sharing information about opportunities, introducing each other to people in our respective circles and supporting each other’s work. This peer network is invaluable in South Africa’s arts community.

“More broadly, NCX has given me confidence. Being selected after applying multiple times, successfully completing the programme despite intense pressure, creating a body of work I’m genuinely proud of — all of this reinforces my belief that I belong in this field and that my voice matters. That confidence itself opens doors, changing how I approach opportunities and how I present myself.”

Looking ahead, what’s next for you? And if you could sum up your NCX experience in one word or phrase, what would it be?

“After NCX, I want to continue developing the Mafelo theme. There are infinite spaces to explore — more rivers, more homesteads, urban corners, sacred sites, gathering places. I’m interested in working even larger in scale, potentially creating installation pieces that audiences can move through rather than just look at. I want to explore how my steel-based works could exist in public spaces, not just galleries, making them more accessible to broader communities.

“Long-term, I want my work to travel — to be seen by diverse audiences in different contexts. I want the Mafelo series to create dialogues across communities and cultures, helping people everywhere recognise the creativity, resilience and dignity in spaces they might overlook. I want to continue contributing to conversations about waste and value, about cultural memory and contemporary identity, about space and belonging in South Africa and beyond.”

Sum up NCX in one word or phrase.

“If I had to sum up my NCX experience in one phrase, it would be: ‘Making space to grow.’”

Spotlighting South African Talent

Making Space runs from 6 November 2025 – 20 January 2026 at HUB Gallery, Union House, in Cape Town. | nandoscreativity.co.za

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The post Sello Letswalo on ‘Making Space’ with Nando’s Creative Exchange appeared first on Visi.

WORDS Gina Dionisio PHOTOS Supplied

Nando’s Creative Exchange (NCX) is the flagship artist development programme within the Nando’s Art Initiative, delivered in partnership with Spier Arts Trust. It recognises emerging fine artists from Southern Africa who demonstrate exceptional talent, providing the support they need to take the next steps in their careers.

Now in its 14th year, the programme continues to provide artists with mentorship, materials and exhibition platforms that help turn creative potential into sustainable careers. The latest exhibition, Making Space — which runs from 6 November 2025 to 20 January 2026 at HUB Gallery — features artworks by Debbie Field, Mduduzi Twala, Sello Letswalo and Fleur De Bondt. Guided by mentor Emma Willemse, they’ve each contributed a cohesive body of work exploring identity, resilience and connection.

We spoke with artist Fleur De Bondt to find out more about her Nando’s Creative Exchange journey.

What motivated you to join the Nando’s Creative Exchange, and how has the experience shaped you creatively and professionally?

“I wanted the opportunity to be mentored because I deeply value the impact that guidance and support can have on an artist’s growth. The main reason was to receive support in my process and to be guided in a new direction.”

How did your mentorship with Emma Willemse influence your work and approach to this exhibition?

“Emma encouraged me to embrace change throughout the process. The work I produced for this exhibition reflects a clear transition and a visible degree of experimentation. Rather than urging me to create a strictly cohesive body of work, she supported my need to explore and evolve. Her guidance allowed me to experiment freely, ultimately leading to the development of the final pieces I presented. She was amazing, and I really enjoyed her style of mentorship. I am very grateful that I had the opportunity to work with her.”

What’s one insight or lesson from the NCX journey that will stay with you?

“Trust the process and keep going.”

Tell us about the body of work you’re presenting at House Union Block – what stories or ideas do you explore?

“I explore the vanishing and transformation of landscapes, particularly those altered by human influence. My work reflects on how greed and the relentless pursuit of power continue to reshape the earth, and often in ways that are irreversible. It is, in many ways, about loss: the quiet mourning of what once was. Yet, within that loss, I also look to the imagination as a form of refuge – a space where we can re-envision and rebuild, creating places of serenity and renewal amid the ruin.”

Did you experiment with any new materials, techniques or concepts in this collection?

“The concept is entirely new – so, yes, conceptually, very much so. I shifted from an internally driven approach to focusing on an external issue, one that I feel deeply helpless about. Once again, it became my way of processing something that, on a macro scale, is beyond my control.

“I also began working with soil and other materials sourced from the earth and mining, such as mica, iron oxide clay, calcium carbonate rock and calcium sulphate – some of which, through their extraction, carry a significant carbon footprint. Some materials were collected from poorly patched potholes (as Johannesburg is riddled with them) and from nearby nature reserves.

“Using these materials – each chosen with intention – I created what I call ‘sandscapes’, a form often dismissed as kitsch. I built a tank and formed images through the pouring and manipulation of layered sand, a process I had never attempted before. Many aspects of this work were completely new to me, and I pushed myself well beyond my comfort zone.

“For the imagery itself, I worked more from reference than ever before, using real photographs of planned obsolescence, industrial dumping, mining and chemical pollution.”

What do you hope visitors take away from your work?

“I hope this work serves as a visually compelling reflection of the state of things, not through the jarring and distressing imagery we are constantly bombarded with on social media and in the news, but through something softer and more aesthetic – through the narrative of art as a reflection of the times. I want it to spark conversation and awareness while offering a moment of visual calm. At the same time, I hope it reminds viewers that imagination remains our most beautiful and accessible form of power, a means to envision change and create something better, even when so much feels beyond our control.”

How has NCX helped you think differently about building a sustainable art career?

“I have learnt that I need to be fully focused and deeply dedicated to my practice, trusting that with persistence, things will work out. I recognise the importance of seeking input. I’ve discovered that I am capable of achieving far more than I often believe. By embracing a process of change, I can arrive where I need to be with my work. Equally, I understand the need to take full advantage of the opportunities presented to me – in this case, mentorship.”

Has the experience opened any new doors or opportunities for you yet?

“Not yet, but the team has ensured we’ve received publicity, which has definitely increased our online presence.”

Looking ahead, what’s next for you, and if you could sum up your NCX experience in one word or phrase, what would it be?

“I’m definitely excited to continue pursuing my new concepts and techniques. The experience has reinforced my unwavering commitment to my art practice.”

Spotlighting South African Talent

Making Space runs from 6 November 2025 – 20 January 2026 at HUB Gallery, Union House, in Cape Town. | nandoscreativity.co.za

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Fleur De Bondt on ‘Making Space’ with Nando’s Creative Exchange appeared first on Visi.

WORDS Gina Dionisio PHOTOS Supplied

Nando’s Creative Exchange (NCX) is the flagship artist development programme within the Nando’s Art Initiative, delivered in partnership with Spier Arts Trust. It recognises emerging fine artists from Southern Africa who demonstrate exceptional talent, providing the support they need to take the next steps in their careers.

Now in its 14th year, the programme continues to provide artists with mentorship, materials and exhibition platforms that help turn creative potential into sustainable careers. The latest exhibition, Making Space — which runs from 6 November 2025 to 20 January 2026 at HUB Gallery — features artworks by Debbie Field, Mduduzi Twala, Sello Letswalo and Fleur De Bondt. Guided by mentor Emma Willemse, they’ve each contributed a cohesive body of work exploring identity, resilience and connection.

We spoke with artist Mduduzi Twala to find out more about his Nando’s Creative Exchange journey.

What motivated you to join the Nando’s Creative Exchange, and how has the experience shaped you creatively and professionally?

“The experience has opened my mind to a whole new level of thinking, from my thought processes to execution. I have a different approach to my work now.”

How did your mentorship with Emma Willemse influence your work and approach to this exhibition?

“Emma has been an inspiration to all of us. She has allowed us to be ourselves and, at the same time, inspired us to think outside the box. Her guidance and support have been invaluable, and have inspired the concept of Making Space.”

What’s one insight or lesson from the NCX journey that will stay with you?

“Being comfortable is not good for any artist. Keep thinking outside the box. Outside the box is where the magic happens.”

Tell us about the body of work you’re presenting at House Union Block – what stories or ideas do you explore?

“The idea for the body of work came from the memories I have of growing up in Zola, north Soweto. I have always wanted to revisit the ideas and thoughts that have been buried in my mind, growing up in a place where space was literally limited and my thoughts seemed limited as well. Although the streets were busy and full of life, somehow I still felt limited. The only freedom I felt was when playing in the veld, seeing those big electricity pylons, which made me think of distance and space. I felt I had to explore those ideas.”

Did you experiment with any new materials, techniques or concepts in this collection?

“I had the freedom to experiment with collage, fabric and paper for this collection, which was inspired by township streets, where you find paper, plastic and fabric scattered all around. I was inspired to incorporate abstract elements into the work.”

What do you hope visitors take away from your work?

“I hope they appreciate my journey and everything that happened on my way to becoming the artist I am today. I hope they feel my experiences through my paintings.”

How has NCX helped you think differently about building a sustainable art career?

“NCX has helped me think outside the box. I am looking forward to experimenting with new ideas and materials, and also exploring new themes. I’ve also learnt how to approach galleries and other entities.”

Has the experience opened any new doors or opportunities for you yet?

“Yes. I was approached by Blessing Ngobeni’s studio to be part of a group exhibition in October, and it was a success.”

Looking ahead, what’s next for you? And if you could sum up your NCX experience in one word or phrase, what would it be?

“What’s next for me is going back to school and teaching autistic kids at Mofolo Art Centre – it’s always been a passion of mine to teach and give back. As an artist, your comfort zone is not good for growth.”

Spotlighting South African Talent

Making Space runs from 6 November 2025 – 20 January 2026 at HUB Gallery, Union House, in Cape Town. | nandoscreativity.co.za

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Mduduzi Twala on ‘Making Space’ with Nando’s Creative Exchange appeared first on Visi.

INTERVIEWED BY Gina Dionisio PHOTOS Supplied

Nando’s Creative Exchange (NCX) is the flagship artist development programme within the Nando’s Art Initiative, delivered in partnership with Spier Arts Trust. It recognises emerging fine artists from Southern Africa who demonstrate exceptional talent, providing the support they need to take the next steps in their careers.

Now in its 14th year, the programme continues to provide artists with mentorship, materials and exhibition platforms that help turn creative potential into sustainable careers. The latest exhibition, Making Space — which runs from 6 November 2025 to 20 January 2026 at HUB Gallery — features artworks by Debbie Field, Mduduzi Twala, Sello Letswalo and Fleur De Bondt. Guided by mentor Emma Willemse, they’ve each contributed a cohesive body of work exploring identity, resilience and connection.

We spoke with artist Debbie Field to find out more about her Nando’s Creative Exchange journey.

What motivated you to join Nando’s Creative Exchange and how has it shaped you creatively and professionally?

“I was surprised and delighted to be nominated, and even more so to be chosen. I accepted this opportunity because I see it as a unique chance, firstly, to work with other artists and, secondly, to be mentored and encouraged to push myself further in my painting. On a creative level, working within this framework for a whole year has allowed me to become focused and single-minded towards my painting in a way I have not been able to before. I have the support and guidance of the group and our mentor, and a sense of being taken more seriously as a professional artist. For me, it’s largely about feeling more supported and, in that way, being able to access a certain latent bravery that I have not explored on my own.

“It remains to be seen how this new attitude will affect my career.”

How did your mentorship with Emma Willemse influence your work and approach to this exhibition?

“Emma’s approach as a mentor has been perfect for me. She finds a wonderful balance between allowing us, as artists, to accept the challenge of going deeper into our own vision and exploration, and being available to push us further and, very importantly, to help us return to a true focus. She never imposed anything but was always at our side to guide and encourage us. I appreciate her so much, and I have learnt a lot from her guidance.”

What’s one insight or lesson from the NCX journey that will stay with you?

“I don’t think there’s only one! The overriding gift I take from this time is a sense of belief in my own approach to painting. Having the support and the pressure to come up with a cohesive body of work that has taken a year to bring together affirms my long-held suspicion that continuous work begets more work and, consequently, even more inspiration. This means I feel I have generated great momentum, and I intend to keep that impulse going.”

Tell us about the body of work you’re presenting at House Union Block — what stories or ideas do you explore?

“This body of work comprises a set of large acrylic paintings on canvas, and a smaller set of small, framed paintings on board, also in acrylic. Working in a non-figurative way, I am exploring colour, as I always do, and, for this exhibition, more specifically, scale. The title of the exhibition, Making Space, is in line with the way I’m working right now — making space on the canvas surface for different colours, shapes, mark-making and a deep exploration of the materiality of the paint on the two-dimensional surface of the canvas. At the other end of the scale, I have pursued the same exploration, but in a very small format. I would like viewers to feel the expanse of space and the impact of colour and texture as a felt experience, no matter what the actual size of the work is. In other words, these paintings could open the viewer’s mind and heart to a new awareness of space.”

How has NCX helped you think differently about building a sustainable art career?

“Mainly, working in this way, I have had insights into what it means to be a full-time artist. This is something I’ve worked towards my whole life. Now that the demands of being a mother, and of teaching art, are slightly less, I feel a deep commitment to focus all my energy on deepening my painting career. I think differently about this prospect after working in the Creative Exchange, in that I feel I really can do it — and I have even greater determination and passion for this ambition.”

Has the experience opened any new doors or opportunities for you yet?

“No, not yet — but I’m sure they will come! I’m very much looking forward to the response to our exhibition, and to seeing where that will lead.“

If you could sum up your NCX experience in one word or phrase, what would it be?

“I would sum up this whole experience by saying that I feel honoured, supported, educated and exhilarated about future possibilities. Of course, the biggest word is GRATITUDE. Thank you to all who have been involved, and thank you to my fellow participants. It has all been such a blessing and a gift.”

Spotlighting South African Talent

Making Space runs from 6 November 2025 – 20 January 2026 at HUB Gallery, Union House, in Cape Town. | nandoscreativity.co.za

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The post Debbie Field on ‘Making Space’ with Nando’s Creative Exchange appeared first on Visi.

INTERVIEWED BY Gina Dionisio PHOTOS Supplied

Nando’s Creative Exchange (NCX) is the flagship artist development programme within the Nando’s Art Initiative. It aims to recognise emerging fine artists from Southern Africa who demonstrate exceptional talent. The programme provides these artists with the support they need to advance their careers to the next level.

Each year, the Spier Arts Trust selects four artists and a mentor for Nando’s Creative Exchange (NCX) programme, which includes mentorship, material sponsorship, and a group exhibition. The latest exhibition, The Promise, featured Lionel Mbayiwa, Rentia Retief, Kenneth Shandu, and Madeleine van Manen.

We spoke with Rentia to learn more about his Nando’s Creative Exchange journey.

Can you describe the central theme or message in your work for this year’s Nando’s Creative Exchange exhibition, The Promise? How does it connect to your overall artistic journey? 

The Promise is tied to my personal hope that I can live in a future where I live more connected with my surroundings instead of being a visitor to nature. 

Your practice involves a range of materials and techniques. How do you decide which medium to use for each piece, and what role do they play in conveying the messages you want to communicate? 

I work with oil paint on canvas and charcoal on paper. I feel with colour I have a tool to convey a reminiscence of the moment that has passed, while with drawing there is a sense of immediacy where the mark making tells a story about the art making process.    

How has your background and upbringing influenced the themes you explore in your art, especially in the context of socio-economic or environmental issues? 

I grew up in the Overberg in a rural, agricultural landscape where the community worked closely with nature for farming purposes. Being a lover of the outdoors, I would be very attuned to the changes of colour in the fields, and the texture of the soil depending on the seasons. The relationship that we have with our environment became a physical and visual story that I catalogue. 

This year’s mentorship has been with Nkosinathi Quwe, a 2018 NCX alumnus. How did his guidance impact your work and approach to the creative process? Were there any particular lessons that stood out for you? 

Nkosinathi has a good eye for formal elements in an artwork. He encouraged me to keep a connection with the type of surface I paint on. Instead of buying a pre-made canvas, rather work on an unstretched canvas that you prime yourself. It added an element of rawness to the work that tied well in with the concept of connecting with one’s surroundings. 

Art can often serve as a mirror to society. How do you think your work challenges or reflects the current socio-political and environmental issues in Southern Africa? 

I would love it if my work can bring a tinge of stillness to the viewer. 

The NCX programme offers not only exposure but also mentorship and support for professional growth. In what ways has this experience influenced your perspective on the business side of being an artist? 

It taught me to approach your work as a brand and business and only show your best work. Some pieces are part of the process but don’t necessarily need to leave the studio.

Can you tell us about a specific piece in the The Promise exhibition that holds personal significance for you, and what its creation process was like? 

I enjoyed working on ‘As it goes’. It was the first time that I reconnected with my usual creation process. I used to collect material to paint or draw from by either hiking, or cycling at remote places. In 2023 I unfortunately lost my leg in a cycling accident which altered my way of working for a while. I would paint scenes of where I would’ve liked to be instead of actually being there. But with the mentioned piece, I painted it after cycling a bike packing route again for the first time in a year. ‘As it goes’ was a little love letter to cycling again at Anysberg.   

Looking ahead, what are some of the goals you have for your art career in the coming years? How do you envision your practice evolving and impacting your community or the art world? 

I would like to take part in a couple of art residencies in the coming year or two. It would be lovely to work at remote places, but exhibit those works in cities to tell the story of the landscape that lies elsewhere. 

Spotlighting South African Talent

Many of the artists who have taken part in NCX have gone on to great things. For example, Tafadzwa Tega, NCX artist from 2019, has exhibited in Milan, Italy, and at the Cape Town Art Fair, where his exhibition – Zumbani – was a sell-out success.

Other NCX alumni, including Robyn Pretorius, Nkosinathi Quwe (2024’s mentor) and many others, have used the programme to catapult their careers to new heights, with their works being included in various local and internal exhibitions and art fairs, such as the 1-54 Africa art fair in London, as well as selling into various well-respected collections. | nandoscreativity.co.za

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The post Connected through Nature: Rentia Retief at Nando’s Creative Exchange appeared first on Visi.

INTERVIEWED BY Gina Dionisio PHOTOS Supplied

Nando’s Creative Exchange (NCX) is the flagship artist development programme within the Nando’s Art Initiative. It aims to recognise emerging fine artists from Southern Africa who demonstrate exceptional talent. The programme provides these artists with the support they need to advance their careers to the next level.

Each year, the Spier Arts Trust selects four artists and a mentor for Nando’s Creative Exchange (NCX) programme, which includes mentorship, material sponsorship, and a group exhibition. The latest exhibition, The Promise, featured Lionel Mbayiwa, Rentia Retief, Kenneth Shandu, and Madeleine van Manen.

We spoke with Kenneth to learn more about his Nando’s Creative Exchange journey.

Can you describe the central theme or message in your work for this year’s Nando’s Creative Exchange exhibition, The Promise? How does it connect to your overall artistic journey? 

The central theme of The Promise exhibition likely revolves around a commitment, hope, or potential that resonates deeply with the artist’s vision and creative journey. The life that we are living today, is holding lots of promises that bring hope in our journey. Since the Nando’s Creative Exchange exhibition is designed to highlight emerging talent and the vibrancy of Southern African contemporary art, the theme might explore the intersections of personal aspiration and societal transformation. In a broader sense, this theme could connect to an artist’s overall journey by reflecting on promises made to oneself or one’s community through art such as the promise to live a better life, and equality by not excluding another group of people within a community.  

Your practice involves a range of materials and techniques. How do you decide which medium to use for each piece, and what role do they play in conveying the messages you want to communicate? 

The use of cardboard as the material in my work is inspired by how homeless people resourcefully utilise cardboard in many ways to create temporary shelters, pack their belongings, and collect them for selling to recycling companies, amongst other things. I am also fascinated by the flexibility and texture of cardboard as an art material. Through the artworks, I focus on the visible aspects of homelessness to bring the invisible to the forefront, such as time, space, and limitations. I work with what is around me. My everyday observation of activities performed by a marginalised group of people inspires me. I use materials associated with street culture, where cardboard becomes a visible material used by people in the streets.  

How has your background and upbringing influenced the themes you explore in your art, especially in the context of socio-economic or environmental issues? 

Coming from a marginalised background and from my everyday observations, I can identify with the dismissive tendencies of pretending homeless people do not exist or pose a threat to society. I believe that everyone is equal as a human being, and we should all be seen as participants in civil society. 

This year’s mentorship has been with Nkosinathi Quwe, a 2018 NCX alumnus. How did his guidance impact your work and approach to the creative process? Were there any particular lessons that stood out for you? 

It was a pleasure working with Nkosinathi, he is an open-minded person and versatile with ideas. His guidance has developed an interesting approach to my creative process. I have learned that, as an artist, you must be flexible with ideas and decisions.  

Art can often serve as a mirror to society. How do you think your work challenges or reflects the current socio-political and environmental issues in Southern Africa? 

My work intends to explore, through creative practice, how art material/cardboard can be manipulated to question our perception of economically marginalised groups in the city of Durban. I am doing that through understanding the urban space (specifically inner-city Durban) within a framework of material culture, which is underpinned by how people use material and space to define and exhibit their culture. My work further speaks to the social reality and lived experience in which people experience the ‘every day’. 

The NCX programme offers not only exposure but also mentorship and support for professional growth. In what ways has this experience influenced your perspective on the business side of being an artist? 

My position as an artist has created exposure to mentorship to understand the importance of budgeting, pricing artwork, and managing resources effectively. It also helped me connect with other artists and industry professionals and that can expand one’s understanding of market dynamics. 

Can you tell us about a specific piece in the The Promise exhibition that holds personal significance for you, and what its creation process was like? 

The artwork titled “Packaged” holds great significance for me among the pieces I have created for this exhibition.I enjoyed the process of creating that work. Starting from engaging with people on the streets, and collecting cardboard from the streets to the studio. I was so fascinated with the idea of manipulating the material. I was addressing my position as an artist through the manipulation of cardboard to bring new meanings to how as a society we view and judge each other, literally and metaphorically through the process of packaging, in the context of homelessness. Through manipulating cardboard, I was looking at how a tangible material can be used to extend or increase our knowledge and understanding (through the conceptual framing of ‘packaging’), of a marginalised group of people. The work further explores how materiality (both as a concept and as a medium) can be used to explore issues of identity and how it can be used to make the invisible visible. 

Looking ahead, what are some of the goals you have for your art career in the coming years? How do you envision your practice evolving and impacting your community or the art world? 

As an emerging artist, I will keep on developing my artistic technical skills and experiment with new mediums, techniques, and technologies to push creative boundaries. I will secure opportunities for solo and group exhibitions in galleries or public spaces, both locally and internationally. I will also create works that address societal issues and push to promote positive change in the art industry. 

Spotlighting South African Talent

Many of the artists who have taken part in NCX have gone on to great things. For example, Tafadzwa Tega, NCX artist from 2019, has exhibited in Milan, Italy, and at the Cape Town Art Fair, where his exhibition – Zumbani – was a sell-out success.

Other NCX alumni, including Robyn Pretorius, Nkosinathi Quwe (2024’s mentor) and many others, have used the programme to catapult their careers to new heights, with their works being included in various local and internal exhibitions and art fairs, such as the 1-54 Africa art fair in London, as well as selling into various well-respected collections. | nandoscreativity.co.za

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The post Kenneth Shandu at Nando’s Creative Exchange appeared first on Visi.

INTERVIEWED BY Gina Dionisio PHOTOS Supplied

Nando’s Creative Exchange (NCX) is the flagship artist development programme within the Nando’s Art Initiative. It aims to recognise emerging fine artists from Southern Africa who demonstrate exceptional talent. The programme provides these artists with the support they need to advance their careers to the next level.

Each year, the Spier Arts Trust selects four artists and a mentor for Nando’s Creative Exchange (NCX) programme, which includes mentorship, material sponsorship, and a group exhibition. The latest exhibition, The Promise, featured Lionel Mbayiwa, Rentia Retief, Kenneth Shandu, and Madeleine van Manen.

We spoke with Lionel to find out more about his Nando’s Creative Exchange journey.

Can you describe the central theme or message in your work for this year’s Nando’s Creative Exchange exhibition, The Promise? How does it connect to your overall artistic journey? 

When I left Zimbabwe in 2009 to come to South Africa, I promised my parents, childhood friends, and myself that I would return soon with a better lifestyle. However, I’ve become comfortable here and now feel like a visitor in my own country while not being fully accepted in South Africa. 

Your practice involves a range of materials and techniques. How do you decide which medium to use for each piece, and what role do they play in conveying the messages you want to communicate? 

Some of the mediums I’m using today started as experiments, and the techniques were initially mistakes. However, I’ve managed to combine those early experiences with my current skills, allowing me to reflect on my journey. This is evident in my artwork, where I scratch the surface to excavate my past. 

How has your background and upbringing influenced the themes you explore in your art, especially in the context of socio-economic or environmental issues? 

Growing up in a rural village taught me humility and instilled in me strong morals and values, such as love, sharing, caring, and respect for nature and our ecosystem. These values have stayed with me to this day. 

Art can often serve as a mirror to society. How do you think your work challenges or reflects the current socio-political and environmental issues in Southern Africa? 

I come from a tumultuous political background, which influences my artwork. I’ve realised that many African leaders are selfish and don’t prioritise the needs of their people. This is reflected in my piece, which critiques the enormous gap between the powerful and the rich in South Africa.

The NCX programme offers not only exposure but also mentorship and support for professional growth. In what ways has this experience influenced your perspective on the business side of being an artist? 

The programme has come at the right time in my life, offering exposure, connections with other artists, and international recognition through Nando’s. The mentorship has been invaluable in helping me produce new work, which, although different, speaks to a cohesive narrative. 

Can you tell us about a specific piece in the The Promise exhibition that holds personal significance for you, and what its creation process was like? 

“Kumira negumbo rimwe” is a Shona proverb meaning “Standing on one leg.” It’s used to describe situations where people are tired or running out of patience with leaders who fail to deliver good governance. I wish our leaders could be given a red card, like in sports, so they can leave their positions and allow new leaders to fulfil their promises.  

Looking ahead, what are some of the goals you have for your art career in the coming years? How do you envision your practice evolving and impacting your community or the art world? 

Moving forward, I plan to collaborate with women in tapestry, host workshops in my studio to showcase my techniques and continue working hard to expand my network and career.

Spotlighting South African Talent

Many of the artists who have taken part in NCX have gone on to great things. For example, Tafadzwa Tega, NCX artist from 2019, has exhibited in Milan, Italy, and at the Cape Town Art Fair, where his exhibition – Zumbani – was a sell-out success.

Other NCX alumni, including Robyn Pretorius, Nkosinathi Quwe (2024’s mentor) and many others, have used the programme to catapult their careers to new heights, with their works being included in various local and internal exhibitions and art fairs, such as the 1-54 Africa art fair in London, as well as selling into various well-respected collections. | nandoscreativity.co.za

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Lionel Mbayiwa at Nando’s Creative Exchange appeared first on Visi.

INTERVIEWED BY Gina Dionisio PHOTOS Supplied

Nando’s Creative Exchange (NCX) is the flagship artist development programme within the Nando’s Art Initiative. It aims to recognise emerging fine artists from Southern Africa who demonstrate exceptional talent. The programme provides these artists with the support they need to advance their careers to the next level.

Each year, the Spier Arts Trust selects four artists and a mentor for Nando’s Creative Exchange (NCX) programme, which includes mentorship, material sponsorship, and a group exhibition. The latest exhibition, The Promise, featured Lionel Mbayiwa, Rentia Retief, Kenneth Shandu, and Madeleine van Manen.

We spoke with Madeleine to find out more about her Nando’s Creative Exchange journey.

Can you describe the central theme or message in your work for this year’s Nando’s Creative Exchange exhibition, The Promise? How does it connect to your overall artistic journey? 

I obsessively paint the city, aiming to capture the essence of a scene and the emotion related to that moment, trying to make sense of who and where I am. We all come to the city to chase a dream. We believe in the promise it holds for a better life, and for reaching our goals.  

Buildings tell the story of humanity. They are places to hide, rest, share, gather, work, worship, exclude, invest, feast, heal, make love, dream, learn, create … places to experience all human emotions, satisfactions, and discords. They are containers and incubators. 

Belonging. Be(long)ing. To have an affinity for a place, the sense of being accepted as part of a group. A sense of fulfilment. That, I guess, is what I’m after. 

Yet, in a city of nearly five million people, it is surprisingly easy to feel isolated, anonymous, and lonely. There can be a great silence within all that noise. While I use existing buildings as a reference, the idea is not that they are architecturally accurate. I am always amazed that people still recognise the buildings or the place. 

Your practice involves a range of materials and techniques. How do you decide which medium to use for each piece, and what role do they play in conveying the messages you want to communicate? 

Each material and technique plays a vital role in the telling of the story. This can include gouache, oil, engraving, pastel, pencil and charcoal, pastes of various kinds, and collage. Most paintings have at least two materials and sometimes all of them.  Compared to the initial stage of working out the composition, this becomes a more intuitive phase, but not without its technical challenges. With the textures and colours, I try to convey the first feeling I had when looking at the buildings in that space.  

How has your background and upbringing influenced the themes you explore in your art, especially in the context of socio-economic or environmental issues? 

As a child, I lived in three different cities. It was exciting. Each city was a new adventure. Adulthood took me on many journeys; both good and bad. Like so many women in our country, I was a single mom, as well as the sole breadwinner for a long time, so the corporate world was the way to survive, working mostly as a designer. I moved between cities and once lived on a farm, which, to my surprise, was not for me. When I was finally able to return to my art full-time, it was a total reset. I could not simply continue where I stopped so many years ago.  

I found myself drawn to the city – its chaos and its structure, the calm that comes with anonymity and the promise that comes with seemingly unending opportunities.

This year’s mentorship has been with Nkosinathi Quwe, a 2018 NCX alumnus. How did his guidance impact your work and approach to the creative process? Were there any particular lessons that stood out for you? 

Let me rather speak about how the entire group influenced me. I met Lionel and Rentia through Creative Block, as we all live in the Cape Town area, so we often see each other on hand-in days. Initially, it seemed like there was no overlap between our work. We had to come up with a common thread to create a cohesive show and message. We come from different places and have had vastly different experiences. When the five of us met as a group for the first time, there were surprisingly many similar words and concepts that kept coming up in our discussions. That was inspiring! While I didn’t change the way I work (we were selected for how we work after all, and not how we should be changing) it definitely deepened my thinking and personal experience of the scenes that I paint. I have great respect for them all. 

Art can often serve as a mirror to society. How do you think your work challenges or reflects the current socio-political and environmental issues in Southern Africa? 

A city is a place of opportunity for so many, but it can be everything else too. It is dangerous, delightful, excitingly beautiful, and also full of decay. The very good, the very bad and everything in between all side by side. I believe that isolation (which can be solitude sometimes and loneliness at other times) is what can be felt by every citizen in the city, whether homeless or wealthy. The graffiti I sometimes use in my paintings is not random. In “To Let” for instance, there is a reference to the tragedy of available space while the city struggles with thousands of homeless people. The “To Let” sign is high up on the building – out of reach for many.  

The NCX programme offers not only exposure but also mentorship and support for professional growth. In what ways has this experience influenced your perspective on the business side of being an artist? 

My studio practice is pretty organised, but with the support and broadened practices of Spier Arts Trust, I will now be able to expand my creative practice even further. Furthermore, through this exhibition, there are already two further exhibitions tentatively planned with Rentia and Kenneth, as well as the amazing opportunity for our show to be at the AVA during the 2025 Art Fair.  

Can you tell us about a specific piece in the The Promise exhibition that holds personal significance for you, and what its creation process was like? 

I’ve already spoken a little bit about “To Let” which, by the way, has about 360 or more rectangles that were each painted individually. There are many personal elements in that painting. Besides the To Let sign that is high up on the building, presumably only visible to people who have already reached some sort of access to another high building at least, there is also the faded graffiti that says “1 DAY”. It refers to our collective dreams of “making it” one day, that shared belief in the promise that the opportunity of a city holds. Similarly, the piece of fragile tape – situations, people, environment …. The word “MAD” references a time and place when I was working at an advertising agency. It was a particularly traumatic time for me, a rollercoaster of unfortunate events. The map and the entrance to the parking garage are statistical. It gives my location and place. It shows you where I am in this city and I am even fortunate enough to have off-street parking. 

Looking ahead, what are some of the goals you have for your art career in the coming years? How do you envision your practice evolving and impacting your community or the art world? 

I have three or four exhibitions planned for 2025 and 2026, as well as a solo. After that, I’d like to explore some art residencies. While my paintings share the feelings of many people, they remain personal reflections of my own responses and emotions. However, like with The Promise, my experience with the city keeps evolving as I share it with others. When people look at my work and talk about it, they talk about their own experiences, which they recognise in some of my work. While it is not as important to me what a person feels or recognises in my paintings, it is more important that they feel something. Through them feeling something, I feel acknowledged.  

Spotlighting South African Talent

Many of the artists who have taken part in NCX have gone on to great things. For example, Tafadzwa Tega, NCX artist from 2019, has exhibited in Milan, Italy, and at the Cape Town Art Fair, where his exhibition – Zumbani – was a sell-out success.

Other NCX alumni, including Robyn Pretorius, Nkosinathi Quwe (2024’s mentor) and many others, have used the programme to catapult their careers to new heights, with their works being included in various local and internal exhibitions and art fairs, such as the 1-54 Africa art fair in London, as well as selling into various well-respected collections. | nandoscreativity.co.za

Don’t forget to sign up to our weekly newsletter for the latest architecture and design news.

The post Urban Belonging: Madeleine van Manen at Nando’s Creative Exchange appeared first on Visi.

Nando’s Creative Exchange (NCX) aims to recognise emerging South African fine artists who demonstrate exceptional ability and help them take the next steps in their careers. We spoke with Robyn Munnick, one of the chosen local artists for the programme.

How did you get involved in art?

As a child, I always enjoyed art and being creative in general. My parents always encouraged this through enrolling me in extra-curricular art classes which ultimately lead to me doing Visual Art in High School. In turn, this ultimately made me realise that I would like to pursue a career in the visual arts. I studied Fine Art, specialising in Painting at an undergrad and postgraduate level. This exposed me to an array of artistic possibilities, exhibitions, ideas, fellow students, lecturers, and artists – people who are like minded that became friends.

How would you describe your work?

Nonfigurative works which explore different forms of mark-making.

Can you tell us a bit about your style and artistic process?

As the conceptual underpinnings of my work usually stem from a personal point of departure, I use conceptually relatable references by creating abstract forms to portray my concept. I rely on techniques such as carving, stencilling, and assemblage – brought together with the technical qualities of Painting. 

Do you have a preferred medium that you like to work in?

While I am trained as a painter and usually use Painting to solidify my work, I also enjoy working dimensionally by breaking the 2-dimensional bounds of what would be traditionally considered a painting. 

Any local artist that you admire?

There are many local artists I admire, but currently I am really enjoying the work of Mary Sibande. I saw one of her exhibitions as a student many years ago and was in awe of her attention to detail and dedication to her craft by extending her capabilities as an artist across artistic disciplines.

What does being part of Nando’s Creative Exchange Programme mean to you?

Being a part of NCX has brought on an immense sense of confidence in myself as an artist and my work in general. I am also so grateful as my work is being recognised beyond the scope of the Eastern Cape.

How do you feel about mentorship and learning through an experienced industry professional?

The beauty of having a mentor who is an experienced industry professional is that they have been where I (as a young emerging artist) have been. They understand the stress, anxiety and self-doubt one may feel when it comes to working on a body of work that is quite personal. Furthermore, they also offer a perspective or direction one may have not considered before. I believe that having a mentor (at whichever point of one’s artistic career) is a vital aspect of being an artist.

Where have you been looking for inspiration for your pieces?

My inspiration usually comes from my daily interactions with my environment in general and how I may feel at a specific time in my life. I use physical fragments of these aspects within my artistic process to ground my non-figurative art-making approach. 

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Nando’s Creative Exchange (NCX) aims to recognise emerging South African fine artists who demonstrate exceptional ability and help them take the next steps in their careers. We spoke with Mpho Machate, one of the chosen local artists for the programme.

How did you get involved in art?

I always enjoyed making things with my hands, making clay cars and toys when playing. This further grew into a passion and I decided to hone that talent by studying art at Tshwane University of Technology and graduated in 2016 with a Bachelor of Technology in Fine Art. Soon after graduating, I started participating in art fairs and programmes such as Turbine Art Fair as well as JP Morgan Abadali Art Development Programme and now, the Nando’s Creative Exchange Programme amongst others.

How would you describe your work?

My work is abstract and so I describe it as a thought stimulator; I like to think that it requires one to question themselves about what they’re looking at thus forming their own perception while interpreting the artwork.

Can you tell us a bit about your style and artistic process?

I create abstract paintings. I like to think of my style as a composition of colour, texture and geometric patterns or forms. Jazz music plays a huge role in getting me focused on the work I am doing. It helps me to relax and get me in the zone, as I choose the type of artwork, medium as well as colour and other materials that I can use to create my art works.

Do you have a preferred medium that you like to work in?

Not really, I like colour and texture so any medium that falls on these works for me.

Any local artist that you admire?

Yes! Mohau Modisakeng. I like the way he uses light, shade and tone in his photography.

What does being part of Nando’s Creative Exchange Programme mean to you?

It is a very humbling experience to be selected for the programme because it has made me realize that there is an audience for my paintings and my work being selected for the Nando’s UK Menu Cover is proof of this. This opportunity has created room for growth and exposure as well as allowed me to meet with other talented artists that I get to learn from.

How do you feel about mentorship and learning through an experienced industry professional?

I liked the experience of having a different input and a professional critic of my work, it has influenced new ideas and that is good for concept development. This has also gotten me to have a different perception and put myself in the shoes of my audience, as I constantly received constructive criticism.

Where have you been looking for inspiration for your pieces?

I like to observe textured surfaces, more especially natural occurrences, sometimes cracked walls and floors. There seems to be a story in the slow process of change and I find that fascinating.

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