Introducing Masindi Ikhona Nafisa Mbolekwa

Published 07 October 2025 in The Viewing Room Art Gallery

By Dimpho Mogale

Introducing Masindi Ikhona Nafisa Mbolekwa first solo exhibition titled FEAST OF THE FLESH AND

PRAYER. The artwork represented spirituality, empathy and appreciation for what is old has passed

away and being made new again.

The solo exhibition series of Masindi “FEAST OF THE FLESH AND PRAYER” looks at the in-depth into

the artist personal historical validation. Masindi suggest that salving death here does not imply

revival nor life, but a kind of socio-spiritual undead. A death within which movement still lingers,

where surrender becomes hope, where hope is alone is enough because it has to be.

With a Degree in Fine Arts, the works in this series of Masindi is not only refined but has substance

because it is not just a painting it involves a story narrative with academic research base, personal

experience and time of a man evolving into a being whom subconscious is to be heighten in

evolution.

This exhibition opened on the 13 th of September 2025 that felt like a theatre play of poetic orbiting

of loss and healing in a two-act performance. Even in Death the show explored the metaphysical

disconnection looking into the historical severance from the traditions of isiXhosa people and

irrevocable binds into Euro-centre (Johannesburg) where the focus is labour whereas the focus in

the Eastern Cape is his spirituality at his ancestral home where rituals took place.

Where death is explored spiritually, psychologically and socially. Death is confronted through the

limestone- like the eMacacuma ancestors in their rituals of passing through un-life which highlight

the theme of the exhibition titled continuous metaphysical death.

Throughout his exhibition the audience and the walkthrough applauded Masindi for his skill of

narrative storytelling ability in each painting making it difficult just to purchase one painting because

each painting speaks to one another in language, colour (black, red, white and grey), and theme.

The audience experience death of a human being that was once selfish, in the world as a figure that

relied on Christianity and ancestry practice through the symbolize of birds that can be seen in

Eastern Cape.

Just like a theatre play, we travelled to the Nile River through the imagery on the “Amen II 2024”

into a journey of being. Experiencing life through the biblical theology of David and Goliath exploring

both ends of death of self-seen in “Behold Mama Flower, 2025” questioning what happens after

beheading Goliath head? With the audience having to ask themselves by looking at the two figures

was it all as a performance of wearing a mask in hiding one’s shame by burying his face in his hand.

The artist uses a colour palette that address his personal experiences through this series; not only

capturing the naked eye, but to create a bold statement of warning and warmth to the issues people

are unlikely to address such as religion, Afrocentrism, eurocentrism, new birth of realisation and self-

awareness.

As the audience prepare for the final act: “Against an ontology of logic” the Lord prepares a table

before your enemies so a feast can take place. A prayer is required as a blessing of an offspring of

becoming renewed to others whom come before us. That speaks to the FEAST OF THE FLESH AND

PRAYER.

By Dimpho Mogale

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