Strauss & co - 8 - 11 November 2020

102 T O P L A C E A B I D C L I C K O N T H E R E D L O T N U M B E R 637 Ndikhumbule Ngqinambi SOUTH AFRICAN 1977– Slamming the Wack signed and dated 2018 on the reverse oil on canvas 150 by 200 by 4,5 cm R60 000 – 80 000 Referring to the imagery of figures running on a vinyl record, depicted in the current lot, the artist comments, ‘The ability to keep the pace with the speed of the record can be regarded as staying afloat, for if you were to lose concentration you would fall. It is about understanding or knowing or mastering your craft, not only in art and music, but in other fields as well. Keeping the rhythm will motivate your pace, so you don’t fall. This body of work has been motivated by the need to stay on top with whatever I do.’ 1 1. Ndikhumbule Ngqinambi, https://www. facebook.com/Galerie23Amsterdam/posts/ ndikhumbule-ngqinambi-cape-town-1977- about-his-exhibition-staying-afloatstayi ng-/2589308637746864/ 638 Ndikhumbule Ngqinambi SOUTH AFRICAN 1977– True Colours signed and dated 2013 on the reverse oil on canvas 70 by 110 cm R40 000 – 60 000 EXHIBITED Barnard Gallery, Cape Town, Ndikhumbule Ngqinambi: True Colours , 22 May to 10 July 2014. The present lot is the title work from Ndikhumbule Ngqinambi’s solo exhibition, True Colours , at the Barnard Gallery in 2014. ‘As the idiom suggests, the definition of true colours is to reveal the reality beneath the mantle of appearance. In this show, Ngqinambi deals with divergent discourses around truth, memory and history, as conveyed through the flag, one of history’s most semantically loaded emblems.’ 1 1. Hazel Friedman (2014) Artthrob, True Colours: Ndikhumbule Ngqinambi at Barnard Gallery, http:// artthrob.co.za/Listings/Ndikhumbule_Ngqinambi_ at_Barnard_Gallery_in__May_2014.aspx