Sinalo Ngcaba for Gibela by FEDE Arthouse
Sinalo Ngcaba is a South African artist and creative visionary born in East London (SA) and currently based in Johannesburg. Known for her vibrant, bold, and sometimes humorous Afro-surrealist work spanning digital and traditional media, Sinalo’s art radiates themes of Black joy, connection, and perseverance.
Her portfolio includes extensive contributions to music and cultural spaces, creating artwork for festivals, events, and musicians worldwide.
She has collaborated with major brands and artists, including Nike South Africa, Spotify Africa, Apple Music, Daily Paper, Converse, Yussef Dayes, and various African artists. Her work has been showcased globally in Paris, London, Los Angeles, Lagos, Accra, Miami, and at the Cape Town International Art Fair.
Sinalo’s creations have been featured in prominent publications such as WePresent, Hypebeast Africa, Mail & Guardian UK, Native Magazine, and The Sunday Times’ Wanted Business Magazine, solidifying her as a key voice in contemporary Black culture. Through her art, Sinalo continues to celebrate creativity, connection, and cultural vibrancy on a global scale.
Your work revolves around the “much-needed escapism” for Black people worldwide and capturing black joy , please unveil the artworks you have created for this exhibition?
Okay, so first, I want people to think of the escapism in my art not just as a way of tapping out and entering a dream world, unaware of what’s happening around them, but rather as an escape from the narratives imposed on us, the beliefs we’ve been conditioned to accept. It’s about breaking free from limiting thoughts. That’s the kind of escape I’m referring to.
In this new exhibition, I continue my commitment to illustrating and celebrating Black joy, unity, and perseverance. But now, I’ve also incorporated themes that reflect my feelings of being overwhelmed by the state of the world and the responsibility I sometimes feel as an artist. There’s this pressure to say something meaningful, yet I don’t want to speak on issues unless I’m well-informed.
It also feels like we’re living in a time of uncertainty globally, we don’t know what’s coming next. But that doesn’t mean we should stop being happy, stop smiling, or stop finding joy. In itself, that joy is an act of resistance. It often feels like those in power are trying to suppress our spirits and push us backward. But history has shown us, time and again, how art has fueled revolutions and driven change.
With this work, I wanted to capture both the good and the bad of the present moment especially in the context of being Black, young, and navigating what that means right now.
How has cultural production provided you with a platform to express your sense of culture, style, and identity, and foster confidence and self-expression as an attitude that enables you to exist authentically?
I think art has always been my way of reclaiming narratives and affirming identity. Through cultural production, I get to document Black life as I experience and imagine it drawing inspiration from others without external distortions.
My style is rooted in attention to detail. I like creating characters that reflect the many ways we see ourselves, especially as Black people. It’s influenced by traditional African patterns, street culture, and a blend of contemporary aesthetics.
The more I create, the more I find confidence in my artistic voice. It allows me to express joy and pride in ways that feel truly authentic to me.
Your visual narrative has derived from being a South African artist practising in mixed media, when your work found refuge in the UK , USA therefore other geographical contexts – did you have to adapt also with the exposure to larger institutional art?
I’ve had to find a balance. While my work has reached audiences across different parts of the world, I’ve remained intentional about staying true to my perspective. However, navigating bigger art spaces has required me to strike a balance between maintaining my independent artistic spirit and embracing new opportunities.
Exposure to the global art scene has deepened my appreciation for collaboration. I’ve seen how different backgrounds and experiences can come together in meaningful ways. But no matter where my work is seen, I always want to center it in Black and African storytelling. That ensures it speaks to the people it’s meant to represent and resonate with.
I also feel incredibly lucky that the people and clients I’ve worked with have aligned so naturally with me. Especially when it comes to musicians it’s surreal. Many of them are artists I’ve had on my playlist for years, and now I get to collaborate with them. Before I started working on bigger projects, I was obsessed with music. I would play my favorite artists and listen to them talk about their journeys, finding their stories inspiring. And now, fast forward things have come full circle. Right now, I’m finishing merch for Lauryn Hill, which feels unreal.
Moments like this remind me that staying true to my perspective and storytelling is what has brought these opportunities. Despite being from different parts of the world, there’s a deep connection in our Blackness, and that’s something I always strive to bring out in my work.
How have you asserted your social presence in repressive conditions through your art?
I’d like to say that my work, in itself, is a form of resistance by documenting and celebrating Black existence beyond struggle and sorrow-centered narratives. I enjoy challenging limiting perspectives about us, especially in the way we’re represented.
I also make it a point to ensure my art remains accessible. I’m not always in galleries, but that doesn’t make me any less of an artist. I do group shows here and there, but most of my work isn’t confined to exhibitions where people have to physically enter a space to experience it. I’ve seen how those environments can be intimidating for some, so I love making my work available in different ways whether it’s on clothing, posters, or other mediums. And when it comes to posters, they’re not just ordinary ones. I love researching and referencing old posters from the past because they were so powerful. Knowing that I’m creating these almost as souvenirs of moments in time where people came together in something beautiful means a lot to me.
Nowadays, with so many events happening every week, people often glance at a flyer, get the details, and move on. But I want my audience to sit with my designs, move their eyes around, and take in every element. I place information strategically and think about longevity something that will still feel significant years from now. When I was in L.A., I saw people reselling some merch I had designed, and I thought that was so cool. I imagined how, years down the line, people might thrift my work, passing it along as something shared and accessible art that doesn’t require thousands of dollars to own.
We live in a world that often erases or distorts Black creativity, so I use my platform to reclaim our joy, our history, and our right to dream wherever we want. That’s also why I’ve stayed independent for so long. Of course, I need to make money and thankfully, I am, even if it’s not at the level I ultimately want yet. But I’ve learned so much from taking the longer route. It’s easy for people to promise they’ll help, but we’ve seen time and time again how Black artists get exploited in these industries. So, as tough as it is, I love being independent.
Looking ahead, what are some of the concepts or projects you’re excited to explore, and how do you envision your art evolving in the coming years?
I really want to start expanding my practice into new formats. I’ve been working digitally for a while now, but even my piece for this exhibition is an oil pastel. I want to return to working with my hands more and move away from digital creating bigger, more tangible works, whether on clothing, through interactive installations, or other large-scale projects. I’m really trying to step out of the 2D space I’ve been working in.
I also want to continue bridging the gap between African and global creative spaces developing projects that foster dialogue and meaningful connections. In the long run, I’ve learned to let go of rigid, long-term plans because they can sometimes make me anxious. I no longer set strict five- or ten-year goals. Instead, I focus on what I’m creating now, and I’ve noticed that when I stay in the flow of the present, opportunities unfold in ways I never expected almost like divine guidance leading me toward new possibilities.
Ultimately, I want to evolve into large-scale public works. I’d love to create something immersive where people can truly experience and live within the art.
