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    A Vibrant Ndebele Mural by Esther Mahlangu Illuminates Unity at Serpentine North

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    “Umuntu ngumuntu ngabantu” (2024), Serpentine North Garden. Photo by George Darrell. Image courtesy of Serpentine and The Melrose Gallery, shared with permission

    A Vibrant Ndebele Mural by Esther Mahlangu Illuminates Unity at Serpentine North

    October 10, 2024

    Art

    Kate Mothes

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    For more than eight decades, Dr. Esther Mahlangu has been creating large-scale, site-specific works that draw on the artistic traditions of Ndebele culture.

    Known for her vibrant, patterned compositions, Mahlangu learned techniques for decorating houses from her mother and grandmother while growing up in South Africa. She mixes natural pigments with clay, soil, and cow dung to paint directly on the exteriors of structures in her village.

    Photo by George Darrell

    Ndebele house painting emerged in the mid-18th century when the matrilineal tribe began to build huts out of mud rather than grass. Women applied colorful patterns to the walls to not only brighten the village but also communicate with others.

    The geometric shapes, characterized by bold, black outlines, serve as a visual language to express personal values, prayers, or major life events.

    Mahlangu paints by hand without using stencils or masking tape, employing chicken feathers and various brushes to create painstaking geometries that preserve a handmade quality. Over time, she has also created numerous works on canvas, using acrylic to broaden the range of hues in her work.

    Esther Mahlangu photographed by Clint Strydom, courtesy of The Melrose Gallery

    At Serpentine North in Hyde Park, London, Mahlangu’s first installation the U.K. was unveiled this week on a wall in the gallery’s garden.

    Comprising six wooden panels, the monumental mural celebrates unity and community and taps into an Ndebele philosophy: “Umuntu ngumuntu ngabantu,” which translates to: “I am because you are.”

    The mural remains on view through September 28, 2025. Plan your visit on the Serpentine website, and learn more about Mahlangu’s remarkable work and career on her website and Instagram.

    Photo by Clint Strydom, courtesy of The Melrose Gallery

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      Sebas Velasco Reflects the Spirit of Brixton for London Mural Festival

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      “A Lasting Place” (2024), London. Photo by Jose Delu. All courtesy of London Mural Festival, shared with permission

      Sebas Velasco Reflects the Spirit of Brixton for London Mural Festival

      September 21, 2024

      Art

      Kate Mothes

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      Drawing from photographs of landscapes and cinematic portraits, Sebas Velasco’s murals and paintings boldly capture people and places. For the 2024 London Mural Festival, the artist has unveiled a large-scale portrayal of a local resident of Brixton, where the piece was recently installed on the end of a residential building.

      Shown waiting for the Brixton train line, the young man in Velasco’s painting leans back against a concrete railing and looks off to the side, illuminated by the station’s lights, which also glow in the background. Titled “A Lasting Place,” Velasco taps into a sense of time slowing down, contemplation, and ease.

      Photo by Jose Delu

      Velasco revels in the process of exploring and learning about the places where he develops his public art pieces. The compositions emerge organically as he immerses himself in the local environment and meets people who live in the area.

      Along with his long-time collaborator Jose Delu, who assists with creating highly contrasted, vibrant photographs, Velasco draws on conversations and experiences in each place in order to reveal something of its spirit through his work. He often addresses the idea of connection, which is also the theme of this year’s festival.

      If you’re in London, you can explore more than 100 murals through September 29 as part of the event, including pieces familiar to Colossal readers like Marija Tiurina. New installations this year have been created by Aches Elseed, BAPE, D*Face, Betz Etam, Anna Ovney, and more.

      Find a map on the festival’s website, and to dig further into Velasco’s work, check out his website and Instagram.

      Wedo Goas, 39 Lee Church St

      Bezt Etam, Roundwood Estate

      Liam Bononi, 125 South Lambeth Rd

      Zoe Power, Jo Hicks, and Vanessa Scott, Canary Wharf

      BAPE x D*Face collaboration

      Sophie Mess, The Stage, Shoreditch

      Anna Ovney, Leadenhall Building, City of London

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      in Street Art

      Banksy in London: A Dead Tree and Vivid Hues in Finsbury Park

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      In an unexpected corner of London’s Finsbury Park, a new Banksy piece silently confronts passersby with a jarring juxtaposition of life and decay. Unannounced but unmistakably Banksy, the artwork features a lifeless tree standing in stark contrast to a backdrop of vibrant green splatters—created, in a twist of irony, with a fire extinguisher. This vivid use of color and medium not only captivates visually but also provokes a deep contemplation of the themes it presents.The stark imagery of a dead tree in a park, where life is expected to flourish, is immediately compelling. Behind it, the wall serves as a canvas for an explosion of bright green paint, applied with such force and volume that it suggests a wild, almost violent attempt to resurrect the greenery that should have been. This artificial canopy of leaves, rendered through the unconventional method of a fire extinguisher, speaks to a profound message of loss, resilience, and perhaps a critique of human attempts to control or mimic nature’s beauty. The contrast between the lifeless tree and the vibrant paint creates a visual and thematic dichotomy that is ripe for interpretation.Context and Significance: Beyond the SurfacePlacing this work in the context of Banksy’s oeuvre, it aligns with his penchant for addressing societal issues with poignancy and humor. Yet, this piece stands out for its direct engagement with environmental themes, using the visual medium to highlight the contrast between what is natural and what is artificial. The choice of Finsbury Park as the location adds layers to its interpretation, possibly reflecting on the park as a space of coexistence for nature and urbanity, and the ongoing struggles to balance the two.The Impact of Banksy’s Environmental CommentaryThis latest installation invites viewers to reflect on their relationship with nature and the environment. By juxtaposing the dead tree with the artificial vibrancy of the green paint, Banksy may be urging a reevaluation of how urban societies interact with the natural world. The use of a fire extinguisher to apply the paint also suggests a sense of urgency, a call to action that cannot be ignored.Conclusion: A Mirror to Our TimesBanksy’s unannounced work in Finsbury Park serves not only as a visual spectacle but as a profound commentary on the environmental challenges facing contemporary society. As with all his pieces, the true meaning may remain enigmatic, allowing interpretations to flourish and encouraging public discourse. This artwork, silent yet screaming, presents a poignant reflection on the state of our natural world and the artificial means by which we seek to preserve it.In the wake of this powerful statement, the conversation around environmental conservation and our role within it is invigorated. Banksy’s piece stands as a testament to the power of art to inspire, challenge, and provoke thought, leaving an indelible mark on the canvas of public consc (adsbygoogle = window.adsbygoogle || []).push({}); More

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      in Street Art

      Types of Happiness by Yinka Ilori in London, United Kingdom

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      A major installation by Yinka Ilori – Types of Happiness – has been unveiled at the Royal Docks, marking the start of The Line’s vibrant summer programme, as well as At The Docks, a brand new season of world-class arts, culture and events taking over the Royal Docks, this summer. The Line is London’s largest free public art walk connecting some of the capital’s most exciting creative quarters from Greenwich Peninsula and the Royal Docks to East Bank.Artworks installed thoughtfully along The Line encourage the discovery of intriguing spaces in the natural landscape of East London’s waterways. Types of Happiness features two 10ft high sculptural chairs, featuring bold colours and a Dutch wax print-like pattern. Designed by British-Nigerian artist Yinka Ilori, the installation references his early career up-cycling chairs and his fascination with furniture as a vehicle for storytelling.They are part of a collection of six chairs, where the artist explores different types of happiness, which include pride, strength, excitement, happiness, calmness and determination. Each of the chairs is ascribed a different type, using the same colours, but in different combinations, to impact experience. The two chairs on The Line represent happiness and pride. They are located between the entrance to the Cable Car and the Good Hotel, in the Royal Docks. Ilori’s work explores art as a narrative and colour as a language through which to spread stories. His practice is underpinned by the belief that art and design should be accessible to all. Humorous, provocative and playful, his projects demonstrate how design can bring together communities and have a positive impact on society, evoking a sense of joy and optimism.Following the waterways and the line of the Greenwich Meridian, visitors to The Line can trace a path through the Royal Docks and Three Mills to discover works by artists including Alberta Whittle and Mahtab Hussain as part of this summer’s ambitious programme.As London’s longest public art trail, The Line is accessible to local residents, Londoners, tourists, families, bird-watchers, dog-walkers, runners, ramblers and anyone else who enjoys an adventure, 365 days a year. The route takes in the Thames, the Royal Docks, River Lea and canals. Winding its way from The O2 in Greenwich to Queen Elizabeth Olympic Park in Stratford, The Line creates a drop-in walking route alongside waterways and green spaces for visitors to experience and explore some of London’s most striking hidden routes, brought to life by artists including Larry Achiampong, Rana Begum, Serge Attukwei Clottey, Tracey Emin, Antony Gormley, Eva Rothschild and Richard Wilson and among many others.*** FREE FOR EDITORIAL USE ***A major installation by Yinka Ilori – Types of Happiness – has been unveiled at the Royal Docks, marking the start of The Line’s vibrant summer programme, as well as At-The-Docks, a brand new season of world-class arts, culture and events taking over the Royal Docks, this summer.www.the-line.orgwww.royaldocks.londonYinka Ilori commented:“I am incredibly excited to have my installation, Types of Happiness, included as part of The Line’s vibrant summer programme. The installation explores how we can have personal connections with objects through the use of colour and storytelling. I hope that visitors will be immersed in the joy and optimism that my work aims to evoke, and that they will find a sense of connection and community as they explore this public art trail. I am excited to contribute to an experience that can be enjoyed by Londoners, tourists, and anyone seeking inspiration along the waterways and green spaces of East London.”Megan Piper, Co-Founder and Director of The Line commented:“This installation has been in the pipeline for a very long time and I’m delighted that Types of Happiness is finally on The Line! Representing happiness and pride, I hope that these are the emotions that they will instill in the residents of the Royal Docks and its visitors.”Deputy Mayor for Culture and the Creative Industries, Justine Simons OBE, said: “Typesof Happiness is a brilliant addition to The Line – London’s longest public art trail. Yinka’s trademark bold colours and intricate patterns tell a powerful story along East London’s waterways. It’s a great day out for Londoners and visitors, showcasing the Royal Docks as a new cultural destination as we build a better London for everyone.”Take a look below for more photos of Yinka’s latest installation. More

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      in Street Art

      “Giving Type” by Dreph in Stockwell, London

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      To mark National Blood Week 2023, NHS Blood and Transplant has unveiled a striking new mural honouring inspirational members of the Black community from across England who donate their blood to help people living with sickle cell.Created by Black-British street artist, Dreph, the mural comes as NHS Blood and Transplant announces that record numbers of people of Black heritage are now saving lives by giving blood. However, more are urgently needed to meet the growing demand for ethnically matched blood for sickle cell patients. Sickle cell is the fastest growing genetic blood disorder in the UK, and it disproportionately affects people of African or Caribbean heritage. “Everyone in the Black community knows someone with sickle cell. It’s a very real and important issue that touches so many lives right here at home in the UK,” said Neequaye ‘Dreph’ Dsane. “I am grateful and humbled to have met these five incredible human beings who regularly give their blood to help patients with sickle cell, and I hope that this art will inspire more generous souls to come forward and save lives.”The artwork is one part of NHS Blood and Transplant’s new ‘Giving Type’ campaign, which aims to empower communities to come together to change the narrative around sickle cell through the act of giving blood – which can save up to three lives with every donation. The ‘Giving Types’ depicted within the mural tell the stories of real people who are helping sickle cell patients from the Black community by regularly donating their blood. “I know I have a rare blood type and I feel blessed to be able to make a real difference to my community so easily by giving blood,” said Samantha Awuku from London, whose image features within the mural. “My little sister has sickle cell and knowing that my blood will be used to help others like her gives me the drive to keep donating. It’s so much easier than people realise.”More than half of Black heritage blood donors have the blood type needed by sickle cell patients compared with just 3% of the general population.Naim Akhtar, Consultant Haematologist and Lead in Donor Medicine for NHS Blood and Transplant, said, “Many sickle cell patients need regular blood transfusions to prevent life-threatening complications, but currently we are only able to provide ethnically matched blood for around half of the hospital requests – leaving other sickle cell patients at risk of developing serious reactions to non-ethnically matched blood.  “While we are delighted to celebrate members of the Black community who regularly step forward to give lifesaving blood, demand is increasing rapidly and we urgently need more people of Black heritage to come forward.”The ‘Giving Type’ mural will be on display to the public in Stockwell Hall of Fame, London, for the duration of National Blood Week, 12 – 18 June. Check out below for more photos of the mural.NHS Blood and Transplant has 25 permanent donor centres in towns and cities. To find your nearest centre and become a blood donor, download the NHS Give Blood app or go to www.blood.co.uk. Blood donation is safe, easy and fast – donation takes around ten minutes and donors are usually in and out of the donation centre within the hour.‘Giving Type’ case studies that are depicted in the mural are, Jaydan Manyan, 28, Birmingham; Torkwase Holmes, Bristol; Ronald Clarke, 63, Greater Manchester; Samantha Awuku, 32, London; and  Lloyd Simmonds, 64, London. More

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      in Street Art

      Shithouse to Penthouse – Edwin

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      Scourge of London’s developers and voice of the people, Edwin, drops his debut solo show ‘Shithouse to Penthouse’ at BSMT Space.London’s development from sharehousing and affordable artist spaces to high-rise luxury apartments and hotdesk hell is perhaps irrepressible, but it at least demands comment. That’s where Edwin’s wit and words come in.For anyone vaguely literate in East London, it would have been almost impossible not to have seen and understood at least one of Edwin’s works over the past decade.Featuring a retrospective of street works alongside new art, the show is a powerful critique of the strategies deployed by developers to inflate their property values, the artists and artworks that form a part of those methodologies, the current status quo of life in London, and a balls out takedown of the rotten fucking Tories.“Sometimes my work can be an intimate conversation with myself that just happens to be highly relatable” – EdwinContained in the voice of dissent shouted by his street works is a respectful nod to the lineage of King Mob and Heathcote Williams, whilst his protest poster series reminiscent of Steve ‘ESPO’ Powers and Christopher Wool. In his confronting social commentary, Edwin asserts that art and protest are inseparable.‘Shithouse to Penthouse’, seeks, for the very first time in a gallery setting, to engage the viewer directly with the multi-faceted aspects of Edwin’s work that underpin the humanity of life in the big smoke.“Like a haircut in the height of lockdown or a man lost in his phone at the pub, these are the throwaway moments I have chosen to explore and process by rendering them in paint and laying down those connections in my memory of that time and place” – Edwin‘Shithouse to Penthouse’ opens with a private view at 6pm on April 20th at BSMT gallery in Dalston.The show will run until May 7th. To RSVP for the opening night or for press enquiries please contact [email protected].Photography credit Doug Gillen of Fifth Wall TV         More