Mbali Dhlamini: Exploring Spirituality and Decolonization Through Photography

Mbali Dhlamini (born 1990) is a South African artist whose work centers on photography and time-based media, primarily investigating themes of spirituality and the complexities of postcolonial identity. Born in Soweto, Johannesburg, Dhlamini’s artistic journey began with a foundational understanding of printmaking at Artist Proof Studio in Johannesburg (2008-2009), followed by formal studies in Visual Arts at the University of Johannesburg (BAHons 2013) and advanced research at the University of the Witwatersrand (MA 2015). Her doctoral thesis, “The Master’s Cloth: A Rainbow Nation,” critically examined faith and spirituality through color—specifically referencing Apostolic and Zionist movements in Soweto—guided by professors Raimi Gbadamosi and David Andrew. This academic grounding profoundly shaped her artistic perspective. Currently residing in Johannesburg, Dhlamini continues to push boundaries within contemporary African art, consistently questioning established narratives and advocating for a reimagining of cultural heritage.

Early Artistic Influences & Education

Dhlamini’s formative years were marked by exposure to diverse artistic traditions rooted in her Soweto upbringing. Her father served as a priest at the Old Apostolic Church, fostering an early appreciation for religious symbolism and visual storytelling—elements that would later permeate her photographic explorations. She excelled academically at Parktown Girls High School before pursuing higher education at Johannesburg University, earning a Bachelor of Technology in Visual Arts. This initial training instilled a disciplined approach to artistic practice alongside a keen awareness of formal elements and compositional techniques. Subsequently, she honed her skills at the University of Witwatersrand, delving into advanced research methodologies and broadening her understanding of critical theory.

Photography as Exploration & Dialogue

Dhlamini’s artistic focus shifted decisively towards photography, recognizing its capacity to capture fleeting moments and convey nuanced narratives—particularly those addressing social and cultural issues. Her work consistently engages with questions of representation and perspective, challenging dominant discourses surrounding colonialism and indigenous knowledge systems. Notably, she undertook a residency at RAW Material Company in Dakar (Senegal), investigating the significance of indigo dyeing traditions within Senegalese communities—a project that interrogated how color communicates meaning and embodies historical legacies. This research culminated in her participation in the Venice Biennale’s European Cultural Centre, furthering her commitment to artistic dialogue and intercultural exchange.

Notable Projects & Exhibitions

Dhlamini's artistic endeavors have garnered recognition both nationally and internationally. Her solo exhibition “Non-Promised Land: Bana Ba Thari Entsho,” hosted at Constitutional Hill in Johannesburg (2015), presented a powerful visual meditation on faith and spirituality, utilizing color to explore the complexities of identity formation within the context of South Africa’s history. She showcased her work at the Washington Printmakers Gallery (2014) and the Beijing Biennale (2015), demonstrating her ability to engage with global artistic conversations. More recently, Dhlamini's images were acquired by Mercedes Benz Art Collection and are currently featured in “Friendship. Nature. Culture.”—a testament to her enduring influence within the contemporary art landscape.

Contemporary Relevance & Artistic Vision

Dhalamini’s artistic practice embodies a commitment to confronting uncomfortable truths and advocating for transformative change. Her ongoing exploration of indigo dyeing—as documented in “Look Into”—represents an effort to reclaim cultural heritage and challenge conventional understandings of visual representation. Through her photographic projects, Dhlamini seeks not merely to depict reality but to provoke reflection on historical narratives and ethical considerations surrounding artistic engagement with marginalized communities. She envisions art as a catalyst for fostering empathy, promoting critical inquiry, and ultimately contributing to the creation of a more equitable and inclusive world—a vision that resonates powerfully within the context of ongoing discussions about decolonization and cultural preservation.