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Rich Mnisi’s “Dzuvula” Solo Exhibition With Southern Guild Gallery

In collaboration with artisans, Rich Mnisi explores the theme of intimacy, evident in the powerful Nwa-Mulamula's embrace and its concrete reinterpretation, Rhulani (Peace).

by Maropeng Lelaka
5 February 2024
in ART & DESIGN, CREATIVE SHOWCASES
Reading Time: 2 mins read
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Rich Mnisi’s “Dzuvula” Solo Exhibition With Southern Guild Gallery

South African designer Rich Mnisi’s solo exhibition titled “Dzuvula (Shedding Ski)” is set to take the audience through the realms of fear, beauty and mythological archetypes. Running from February 8 April to 18 April 2024, at Southern Guild Cape Town.

Mnisi’s “Dzuvula” touches  into the cosmology of duality, drawing inspiration from the snake, which symbolizes both fear and beauty. The exhibition showcases a collection of sculptural bronze furniture, including the intriguing Mbhoni (Witness) table and the Ripfumelo I and Ripfumelo II sculptural seats. These pieces embody the  balance between fear and comfort.

In collaboration with artisans, Rich Mnisi explores the theme of intimacy, evident in the powerful Nwa-Mulamula’s embrace and its concrete reinterpretation, Rhulani (Peace). These pieces elevate the human experience by reflecting on the intricate nature of our existence.

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The exhibition also features Vutlhari II (Wisdom), a bronze chandelier, and Shiluva (Flower), a Tibetan wool and silk rug, both of which walk into mythological references. These elements create a sensory journey through various forms, patinas, patterns, and textures, immersing viewers in a world where fear, beauty, and myth intertwine.

Running concurrently with “Dzuvula” is Justine Mahoney’s exhibition titled “VIGIL.” Mahoney’s work presents a profound exploration of Jungian archetypes, reimagining them through sculpted figures and large-scale paintings.

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The sculpted figures, such as the enigmatic Mother and the cosmic Child, stand on ebonized plinths, created using the Japanese wood-burning technique called Shou Sugi Ban. Mahoney’s return to painting complements her sculptural work, with enamel paintings on large fabric segments. These two-dimensional figures hang from floor to ceiling, engaging in a visual dialogue of line and color with their sculptural counterparts.

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