For multidisciplinary artist Nzaliseko “Nza” Maponye, art has become a way of making sense of the things that cannot always be seen or easily explained. Originally from eNgcobo in the Eastern Cape and now based in Johannesburg, Maponye’s practice explores the relationship between the soul and the mind, drawing from personal experiences, self-discovery and the knowledge passed down to him.
His journey into art began in 2011 at Lady Grey Arts Academy before he moved to Johannesburg in 2014 to study film, where he developed his foundation in animation. Since 2017, he has worked across advertising and television production, experiences that have continued to influence the way he approaches storytelling and visual communication.
His interest in the unseen developed during a period when he began questioning the direction of his own life. After years of working towards a career in television, Maponye found himself feeling unfulfilled and began exploring questions around consciousness, spirituality and the intangible. A difficult personal experience eventually led him to step away from his 9-to-5 and return home for a year, where he began rebuilding his sense of self.
It was during this period that he discovered a deeper connection to his family history. Learning that there was a medium in every generation of his family, and being taught by his father’s brother how to navigate the tangible and intangible worlds, encouraged Maponye to begin translating what he was learning into his creative practice.
Today, he works across sculpture, animation and painting, choosing the medium that best allows him to communicate the ideas he is exploring. For Maponye, the medium is not simply about aesthetics; it is a means of communication. Whether through the physical presence of a sculpture, the movement and storytelling of animation, or the depth and intimacy of painting, each medium offers him a different way of exploring and expressing the unseen aspects of human experience.
Water has become one of the most recognisable elements within his visual language. His characters often appear without faces, with water taking their place. For Maponye, it represents life, purity, emotional depth and transformation, giving form to experiences that are otherwise difficult to visualise.
This exploration continues through his recent catalogue, Knowers. Originally titled Weathered as a reference to the patina found across many of his sculptures, the project evolved into an exploration of knowledge and the people who have contributed to his development, both personally and artistically.
As his practice continues to grow, Maponye is also becoming increasingly interested in how audiences interpret his work. While he accepts that viewers should have the freedom to form their own meanings, he is interested in finding ways to communicate deeper ideas in a manner that remains accessible.
Looking ahead, Maponye hopes to exhibit with established galleries while continuing to develop his practice through a deeper exploration of the subjects that inform his work. Rather than limiting where his practice can go, he wants to give himself the space to investigate these ideas as deeply as possible, allowing his work to evolve alongside his understanding of them.
Ultimately, his practice remains rooted in one idea: using the skills and mediums available to him to communicate what might otherwise remain unseen.