Nkosinathi Thomas Ngulube has come a long way in the art industry. Self-taught in sculpture, painting and now a leading art gallerist, he celebrates his coming of age in the art sector, proudly, that he never quit when it was possible to. The rawness of Nathi’s work is unpremeditated and sanguine with layers of mixed mediums that, like in the form of his early sculptures whereby he created from foraged and easily found objects, are applied emotionally, psychologically in multiples of textures and other mediums until the artwork relates back to the inner self it emanated from.
Nathi’s works are roughly and haphazardly adorned with markings, scratchings, symbols and fingering as he does not use the conventional brushes to paint. He also insinuates the two fold of certainties and misgivings of both informal and formal architectural illustrated lines: which demarcates socio-economic lines and also quotes, “ it also allows me to delve into the hessian material like l will with sculpture, without tearing through as with fragile materials like paper”. As human beings we are constantly searching and scratching to reveal what is covered, in the hope of an unexpected sight or revelation through curiosity. Animals do that too, in many aspects.
His frenetic application of colours direct from the oil tube are non-existent of a brushstroke, as he uses his fingers and any other utensils to apply against the porous canvas of hessian material. The artist’s works challenges its audience to a simultaneous viewing and study as if it is optical art, which evokes his inner peace with turmoil, and victory over trials. His works have strength to welcome his audience as they relate to its consistency of emotional mirroring beauty against darkness. Nathi is an artist who encourages us to see the hidden beauty in an ugly situation., like reading between the lines of chaos.
Symbolism and text are an important formality to the artist. His mirrored texts, misspelt words, academic titles are an engagement for his audience to think and conversate with each piece. His vernacular symbols are a metaphor which reveal both his executional style and persona. His symbols represent the male and female gender in varied attributes consistently. His originals are nonrepetitive.
Nathi pours his thoughts, moral values in regard to religion, society, political correctness and spiritual discernment with a seamless connection between his uncensored thoughts and his various materials like Indian ink, oil pastels, enamel, acrylics and red wine.
