Strauss & co - 15 February 2020, Cape Town

22  MONGEZI NCAPHAYI SOUTH AFRICAN 1983– Into the Labyrinth signed and dated 2019 Akua ink and acrylic on Kitakata paper 152 by 77cm R30 000 – 50 000 “I think that [my love of abstraction] has a lot to do with the music I was exposed to as a child and grew up listening to – Jazz. I’m always fascinated by how musicians can communicate and express a feeling purely through sound (especially without any lyrics). As a listener you’re given room to relate it to your own experiences and ideas. I like the fact that it makes you think and engage with it and not only be on the receiving end. Thus, I see my abstract works as musical compositions in a visual form. I was introduced to abstract art in my art history class. I am still inspired by the works of Kandinsky, Mondrian and the artists who were part of the Abstract Expressionism movement. I don’t really plan my compositions. I rely on my intuition and spontaneity, and yes, they just evolve as I make them. If I put a mark down, the second mark would be based on the first mark and so are the rest of the marks, shapes and colours. I let the artwork guide me through its various directions. When it has reached that end point, the artwork tells me to stop.” 1 1. The artist in conversation with Daniel Hewson (2016) No Man’s Art Gallery , Amsterdam, https://artafricamagazine.org/art-south-africa- in- conversation-with-mongezi-ncaphayi/ 34