I first met Lwazi Hlofe in 2003 when I was studying photography at the Market Photography Workshop in New Town, Johannesburg. He was polite, hard-working, and had no difficulty expressing himself, especially when it came to his own work.
He then started touring with the Afropop music group Malaika, acting as their photographer and tour manager when they were not yet famous as a trio. In 2004, he became chief photographer for the now-defunct Photography Company. Y mugtargeted Generation Y, with an emphasis on urban street culture and black people in post-apartheid South Africa, particularly kwaito.
In 2008, Hlofe's work began to gradually disappear from the public domain, only to reemerge a few years later in another form of art.
visit the artist
In late 2023, I discovered his work online and was once again blown away by the amazingly convincing and entertaining drawings, paintings, and sculptures he has been creating since 2010.
Eventually, curiosity led me to his house in Kensington, Joburg. He and his wife Zola have been renovating the house since they moved in with their teenage children, Langelile and Thembi, about eight years ago.
We talked a little about life and family issues and then delved directly into how it all started.
“You know, it's very strange. I never look for inspiration,” the 44-year-old multidisciplinary artist said as he prepared ingredients to make pancakes in the kitchen next to his office. .
He then explained that touching any surface, be it wood, cardboard, paper, or a pen, can trigger creativity.
A month ago, he bought a refrigerator wrapped in cardboard and plastic for protection. As he was opening the package, a vision came to him. A few hours later, the cardboard had transformed into two tall, stunning black and white giraffes. Many of the beautifully framed works are currently on display in the Gallery Space Lounge, awaiting buyers.
“So I've never looked for inspiration. For me it's automatic,” he said.
His work is expressed through a vision based on human experience and memory, but also touches on identity. He is a spiritual vessel for his ancestors and feels honored to be connected to them.
background
As the only child of parents who were teachers, Hrofe had a wealth of materials to practice drawing at his home in Voslooros. When visiting Katlehong's grandparents, he watched her grandmother embroidery on Ndebele blankets and her grandfather, a carpenter, carving ostriches.
But his most memorable moment was when he saw Gogo Skosana, who sometimes took care of him after school, make beautiful mats out of discarded plastic bags and long, dry grass.
His big break came when he moved from a town school to a wealthy school that offered art classes. He then studied interior design at Wits University, before dropping out to pursue photography.
work independently
At various stages of his life, Hlofe continued to create art. His amazing work is what he calls “charcoal on paper.” puppet master's hand and fantasy of freedom It was mistaken for a work by William Kentridge.
“We took them to Silverton and had them scanned. [later] Post the photo to your social feed. An art collector from Australia saw them and immediately contacted me to ask how I hadn't heard about William Kentridge's latest work. ”
The following week, the collector flew to Johannesburg and paid Hlophe a large sum for three of the five pieces on offer.
From then on, Hlophe never looked back. His latest works reflect Swati and Ndebele traditions and attract national and international collectors.
Despite having such success working independently, he does not have gallery representation because of the way the gallery operates.
“I don't understand how galleries will react to my work and what they want to charge for it or what they want to start me with,'' he said disappointedly. told. “When I question things, it's not out of disrespect, it's out of curiosity to understand how their business works. And they think I'm a bit problematic. is.”
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Galleries, including auction houses, charge a 40% to 50% commission on sales, but Hlophe believes they should be charged based on the quality of the work rather than its popularity. What upsets him most is that every time he exhibits a work, most galleries marvel at his talent but question whether he has achieved it.
His main goal is not to begrudge the past, but to contribute to artistic culture and dream of a time when he can express himself beyond his economic circumstances.
While his dreams are coming true, he serves me delicious pancakes with cinnamon and maple syrup. DM
Oupa Nkosi is a senior photojournalist.
This story first appeared in our weekly magazine Daily Maverick 168 The newspaper is available nationwide for R29.