Esther Mahlangu on painting: ‘For me it is about wanting to create calm in the viewer’

What was the first work you made that you were proud of?

Dr Esther Mahlangu: When I was a child, I used to watch the women of my village paint their homes, and I would want to join them. When they would go for a break, I would try to continue their work for them. When they returned, they would tell me to ‘never do this again’, and to practice on the back of the homes until I was good enough to paint on the front.

One day, my grandmother called my mother to see what her daughter had done, and when she saw the quality of my work on the back of the home, they invited me to join them in painting on the front. This is when I first knew that I was good at painting.

What advice did your mother and grandmother give you?

EM: I learnt the art of Ndebele design from my mother and grandmother. They taught me many things, not only about painting, but about the traditions and culture of our nation. Painting in a straight line is very important, as is the balance in our work. When a young man was considering taking on a bride, we would say that she is not marriage material because she can’t paint a straight line. To master the feather that was used to paint and to keep my hand steady were among the first things I learnt.

Many people ask me if the colours or shapes within my paintings have any meanings, but for me it is more about wanting to create calm in the viewer, and this is created by the balance in the work — through mirroring colours and shapes on adjacent sides and corners of the painting.

How have you passed these traditions on to the next generation?

EM: I have spent my life travelling the world, collaborating with people, entities and global brands, helping to raise awareness and pride in Ndebele design among our tribe, our nation and the continent of Africa as a whole. I have also taught many children the art of Ndebele design, and our traditions and culture. Many of these were taught at the informal school that I have run from my homestead for many years. My art is part of the school curriculum, which also helps in passing this to the next generation.

You have made some huge murals, for instance in the Serpentine North Garden in Hyde Park. How do you work with the space for that kind of commission?

EM: I approach a large work in the same way as a smaller work. There are obviously some additional considerations on a very large work — such as scaffolding and security when painting up high — but the design principles remain the same.

When you look back, can you see how political events might have impacted your art?

EM: While Ndebele art does have some political undertones — as a form of resistance and identification of our nation during Apartheid — I don’t really consider my artwork political. Some may say that it is, insofar as it disrupts the understanding of traditional vs contemporary art.

What colours particularly resonate with you?

EM: I don’t have a favourite colour. Colour is very important in my work, and I like different colours for different reasons.

What is it you like about acrylic paints?

EM: I originally began using natural vegetable dyes, which were muted in colouring and had a limited lifespan. Acrylics allowed me to use a much larger colour palette and were more hardy for external use. Acrylics also made it easier for me to paint objects such as cars, mannequins, canvases, motorbikes and many other objects, which has become an important part of my practice.

Christie’s in London is delighted to collaborate with Dr Esther Mahlangu on a special takeover of the Café Bar at our St James’s headquarters, 8-17 October 2025

Esther Mahlangu’s work will also feature at 1-54 Contemporary African Art Fair, 16-19 October at Somerset House, London

Contemporary African Art, a three-day course at Christie’s Education, takes place at Somerset House in London from 15-17‌ October‌. Discover more

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