Celebrating Namibian Printmaking

For a moment, Elia Shiwoohamba is John Muafangejo. Some of the late great printmaker’s work is being exhibited just across the room at the Franco-Namibian Cultural Centre and in a piece simply titled ‘John Muafangejo Style’, the contemporary artist pays respect, creates in homage, perhaps even teases a little.

Muafangejoâ s is a shadow scores of young printmakers have stood in. For many, mimicking his monochromatic, socially conscious canvases with the title written in capital letters within the scene is almost a right of passage as new artists discover woodcuts, linocut and the printmaker whose particular aesthetic garnered international acclaim.

In ⠘Celebrating Namibian Printmakingâ , Muafangejo is exhibited right alongside the likes of Elia Shiwoohamba, Petrus Amuthenu and Lok Kandjengo.

Three bright contemporary stars who have studied his legacy and have just begun to create one of their own as part of a fraternity of technique the Franco-Namibian Cultural Centre, the National Art Gallery of Namibia, Art-in-the-House Namibia, the John Muafangejo Art Centre and the Directorate of Arts are celebrating to coincide with the 26th anniversary of Namibiaâ s independence.

Showcasing a range of printing techniques including sugar lift etching, tethered scintilla, serigraph, linoleum block printing and dry point with notes about the less ubiquitous techniques, the exhibition features work from across three decades while offering insight into beginnings.

Jo Roggeâ s somewhat sinister ⠘Nightswimmingâ in 1993, Joseph Madisiaâ s majestic ⠘Worshipping with An African Identityâ dated 1992 and Shiya Karusebâ s dark wall of faces in ⠘All Nationsâ (1998).

A celebration of diversity within the craft as well as a display of technical prowess, the pieces in ⠘Celebrating Namibian Printmakingâ explore various themes ranging from the historical to the political, the literal to the metaphorical as well as the mythical and the imaginary in works such as Peter Mwahalukangeâ s ⠘Where are The Freedom Fightersâ , Samuel Mbingiloâ s abstract and peering ⠘Milleniumâ (2002), Herman Mbambaâ s geometric ⠘Moonlight in the New Jerusalemâ (2001) and Johannes Xoagubâ s unsettling ⠘Prayer of Tearsâ (2002).

Speaking for signature style, the crowded, colourful and compelling canvases by Papa Shikongeni are easily identifiable as are Rudolph Seibebâ s strange sepia subjects and Helena Brandtâ s elongated and eerie etchings.

Equally aesthetically arresting are pieces by Andre van Wyk who creates a fantasy fashion designer and a grand, glaring metal warrior that looms large in the FNCC in contrast to Kim Modiseâ s delicate lines of dunes and Sageus Marthinâ s intricate and patterned cardboard prints.

Also featuring work by Susan Mitchinson, David Amukoto, Alpheus Mvula, Kaleb Haipinge, Josia Shilongo, Salinde Willem, Sara Nekombe, Aili Mvula, Pierre van der Westhuizen and Nangombe Kapanda, the exhibition is currently on display at the FNCC as well as the National Art Gallery of Namibia in a celebration of printmaking and its people. The new, the passing through and the pioneers.

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