Wonder Buhle on creating art that celebrates black identity fearlessly
Wonder Buhle Mbambo is a South African visual artist from kwaNgcolosi in Kwazulu-Natal. Born in 1989, he was raised by his mother and grandmother. His journey began as a hobby, fueled by his fascination with drawing and creating handcrafted items as a child, around the age of 13.
Mbambo’s received his formal training in 2010 at the BAT Centre, which co-ordinates a visual arts residency in Durban. He studied Fine Art, under the mentorship of Themba Shibase at the Velobala Apprenticeship Program at the Durban University of Technology (2011-2013). In 2016, Mbambo was the recipient of Bremer Kunststipenium Art Grant.
Do you come from a creative background, and how did your family and the place you come from shape you and your artistic identity?
Yes, I do. Even though I could not spend time with my father because he passed away when I was young, I was told he was a musician who could play the piano and sing with his band. One of my uncles was a craftsman, so I think my creativity has a strong genetic influence from this background. On the other hand, my mother is a seer, and my grandmother was a traditional herbalist. The combination of these elements from both sides of my family played a significant role in shaping my artistic identity.
I also grew up in a village surrounded by rivers, mountains, and big dams. Being surrounded by these natural elements and the people of that space during my upbringing taught me a lot about traditional practices and cultural preservation.
What is your ultimate passion and goal as an artist? Do you have a dream project that you would love to realize someday?
I think my ultimate goal is to ensure that my name outlives me through my work being preserved in the biggest museums in the world. I also have a dream project of directing a short film and seeing the characters that I paint come to life, with their stories in motion. As a painter, there are always surprising elements in the completion of each piece because, in most cases, you don’t know how the final result will look. This makes it an exciting journey to see the development of the work, and my true passion stands out during this process.
Your art depicts spiritually charged visions of Black bodies in restful and contemplative poses, rendered in charcoal and acrylic against plains of colour. And your signature motif is a gold flower- shaped pattern on the skin of the figures. Can you tell us about this symbolism?
I have been always fascinated with symbolism since the earliest stage of my career, where shapes and forms becomes a visual language to give identity to the subject or the muse on the painting.
The golden flower motif has always existed in some of my sketchbooks, but I was unsure how to apply it to an actual painting. That changed when I was doing my scholarship in the UK, occupying a residential arts studio at THE ARTHOUSE back in 2018. I remember very well that I was creating mixed media works using charcoal and acrylics.
My figures were already dark because I have long been inspired by the colors brought by the moon and how things are defined under its light during a full moon. I wanted to give these dark figures an identity—where they come from, what they represent, and what they are here to serve. This is when I remembered a story my grandmother told me about playing in her lucky flowers and how I must protect her garden because she believed they bring fortune, calmness, and protection to the home.
So, I fused this flower symbol with a star that appears mostly when there is a full moon, rendered in golden color, to give a newly developed meaning to my figures. This motif charges them with a sense of identity, origin, purpose in life, and direction. I wanted them to be spiritually guided and protected through this symbol.
It’s fair to say that your portraits are a celebration of Black people? How would you describe the evolution of the black identity from past to present and the celebration of it?
Yes, it is an unapologetic depiction of Black people's celebration. I have always had an issue with how Black identity is portrayed, especially in discussions where the narrative often simplifies it to "finding ourselves," as if we do not already know who we are. For instance, being born and raised in Africa and never having left, this continent is my essence—its sounds and colors define me. I find it challenging to engage on the same level as my fellow Black brothers and sisters born in the United States or parts of Europe but with African origins. Their experiences and perspectives are different, shaping how they navigate this topic.
On the other hand, within this new global Black evolution, I appreciate how we are redefining ourselves and reclaiming our history. It's inspiring to witness daily Black victories and rediscover aspects of our greatness that were distorted or suppressed to erase our identity.
Can you highlight and expand on 1 or 2 of your pieces and the story that they tell, or the stories behind them?
I have two pieces titled “We No Longer Gonna Run” and “Where I Am From Everybody Is King.” These works resonate deeply with me, emphasizing the importance of self-assurance and confidence in one’s identity.
"We No Longer Gonna Run" was created during a period of unrest here in South Africa. The title reflects what I witnessed, especially in the suburban areas of Durban, where atrocities sparked racial tensions instead of community unity. The Phoenix massacre, for example, tragically claimed the lives of hundreds of Black people who lived among other races. Children were burned alive, and gated estates became no-go zones for Black residents, regardless of their homes and families inside.
These brutal events inspired me to create this piece as a statement against submitting to racism. It served as a reminder of our ongoing struggle for equal value in life, economy, education, and recognition. The artwork features a life-size portrait of my daughter standing atop a cliff, with soldiers behind her and faces of a marginalized community in the background against an ocean and pink sky. This piece aims to restore "Amandla ethu" (our power) and draws on historical African references, including the leadership roles of kings and queens in Egyptian history and the Southern Hemisphere's history, such as the great Shaka Zulu. In this historical context, Shaka's mother served as his intelligence and advisor in military tactics, contributing to the strength of his nation.
By depicting my daughter as a leader in this artwork, I highlight the power that women possess and emphasize her readiness to defend and lead her community, no matter the cost.
“Where I Am From Everybody Is King” was inspired by our historical greatness - the meaning of names and surnames in the African context. It was a piece on reminding us that we are all important and come from a multiple dynasty of kingdoms. It was basically an empowering piece.
Upi once said that your art is a conversation with the world. What are the types of conversations that your art has encouraged from people that you are aware of?
I have always seen my work as a means to engage with various topics beyond African stories, especially when it is exhibited outside the continent in places like Europe and other parts of the world. One of my main motivations is understanding the impact my art has when it reaches foreign spaces. I am particularly interested in how it resonates with viewers, especially young white children growing up in Europe.
For example, presenting a large black portrait as a king or an intelligent figure challenges stereotypes that might otherwise cast black individuals in subservient roles like butlers or cleaners. This representation can profoundly influence perceptions of who we are as a people, particularly in future generations and among other racial groups.
By showcasing powerful and dignified portrayals of African heritage, my art aims to redefine and expand the narrative surrounding black identity. It encourages conversations about equality, representation, and the richness of cultural diversity. Ultimately, I hope that my work contributes to fostering a more inclusive and respectful global community where all people are seen and celebrated for their true potential and humanity.
What is on your mind when you are painting/ drawing one of your creations? Do you have a creative process?
Yes I do have a creative process. In most cases I already know what I am referencing as soon as I engage with the material, but also sometimes it is quite personal to free my mind by tuning into my intuition more. My process start with collecting stories from my surroundings, determining the colour decision and what composition is going to suit this inspiration. The image making is always going to be of people I once met or people in my family. I go with the light that I see in their eyes and the story begins there.
What do you do to keep yourself motivated and interested in your work? How much of your own life is reflected in your work?
I feel mostly motivated, especially as a full-time artist. Throughout my entire life, I spend about 70% of my daily time in my studio. Sometimes I'm not painting but just staring at the works, doing small writings, or reading. However, in most cases, I will be painting or trying to explore ways to make the work more appealing. My work does reflect my own life a lot, especially since most of the images used are from my family photos and stories, serving as a window to the world.
Do you think that creativity involves putting your heart and soul into your work? Or is it more like letting your mind flow freely to witness the surprising results of your actions?
I think it is both. Some works require me to be fully connected with my heart and soul because of how personal that story is, while other times it is more about being curious about the direction the piece will take towards completion.
How do you deal with creative blocks?
I typically drive home to the mountains or visit other creative spaces. I hardly get blocked though because I always have projects ahead to work on. In most cases, a block can arise from decision-making on how to approach a particular subject.
How do you know when a piece or project is finished and needs no additional work?
That feeling is always surprising. You can put as many as 100 layers on a painting and it never feels finished. You can work on a piece for years, and sometimes just two layers are enough, and you can feel it—it is done. So, it's more like waiting for that genius stroke and feeling when it has arrived.
Have you ever felt that your personal expectations have limited your creativity?
Yes, I have felt that—well, I still feel it sometimes even now. However, I have always been good at giving myself time to refocus on the true purpose of my journey rather than placing undue weight on how things should or shouldn't look.
What’s one thing that you would change within the South African or African art industry?
It's 'pace.' At this stage, I've realized that 'pace' can also be equivalent to 'value.' So, there's no need to rush; the spotlight is on us as African artists, offering us a chance to redefine, rewrite, and repurpose our stories in ways that truly reflect and define us. We can do this without feeling pressured by global movements, markets, or gatekeepers. This era is about 'African Stories Told By Africans.'