Songezo Zantsi’s second solo exhibition, ‘Iyabulela iLali’, depicts scenes of a traditional Xhosamatrimonial ceremony. The exhibition, presented by Vela Projects from 12 July till 10 August, features 11 original paintings that stem from photographs captured by the artist at a family wedding in Qumbu, rural Eastern Cape.
With an aim to “create a visual archive of life in South Africa,” the 33-year-old artist from Cape Town, uses his work to depict poignant moments of human interaction.
“With this series, as well as with my previous works, I am curious about this umbrella term that is called culture. I have an interest in how different cultures express themselves and what culture means for different people. This event was interesting to me because it was the first wedding that I attended in the former Transkei. At the same time, it is an example of one wedding amongst all the weddings that take place all over the world,” says Zantsi.
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Set against the backdrop of the dry July heat and windy conditions, the artist captures the atmosphere of the day with a warm palette. The swirling dust and vibrant hues convey the atmosphere of the event, reflecting a visual experience of landscape. Featured prominently across these works is a procession of men on horseback, marking the entertainment for the ceremony.
“This experience was both foreign and significant to me. Standing amidst a sea of people and seven majestic horses, I realised the gravity of the moment—not just for myself but for the broader narrative of South African art,” shares Zantsi.
“The domesticated horses, symbols of wealth and status in art history, here represented a seamless bond between humans and animals, challenging traditional notions of power and hierarchy. The horses and the people shared the space equally, a dynamic captured through the fluidity of motion and the interplay of shadows,” he explains.
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Zantsi’s artistic approach in this series merges the precision of figurative painting with the emotive quality of mark-making, evolving into a new impressionist style. Despite having a young practice, Zantsi has evolved from realism to a more expressive interpretation, inviting viewers to engage with the work on a personal level. Each painting becomes an open narrative, encouraging the audience to immerse themselves in the scenes, finding distinct interpretations of the joyous in-between moments of celebration depicted.
‘Iyabulela iLali’ is more than a visual record; it is an invitation to experience the gratitude, joy, and communal spirit of a traditional South African wedding.
