Phoka Nyokong, also known as Phoka, chats to us about the deep themes of identity, cultural heritage, and the restless pursuit of self-understanding in his recent exhibition, confrontation. Hosted with lowercase lettering, the title itself invites curiosity and reflects the non-violent nature of this cultural reckoning, a confrontation that seeks understanding rather than hostility. IQOQO chats with him to find out more about the exhibition.
*Responses edited for clarity and readability.
IQOQO: Could you tell us more about the cultural and historical influences that inspired confrontation? What are some of the historical movements or ideological conflicts that shaped this exhibition?
Phoka: It’s a vast and complex history, and I’m in no way claiming ownership over it. In fact, I stumbled upon it as a maker. I hadn’t painted in nearly a decade until I returned to it in 2020, and when I did, I found myself drawn to history, not necessarily political history, but cultural history. In particular, I became captivated by the 19th-century “punitive expedition”.
Europeans, especially the Portuguese, were early trade partners with the Benin Kingdom in West Africa. But later, the British replaced them as the dominant trading partner and, eventually, as occupiers. The Benin Kingdom resisted, leading to the British instigating a brutal war, known as the punitive expedition, which led to the destruction of the Benin palace. The British looted the palace, taking with them precious artefacts made of brass, bronze, and other materials. I pull these histories into my work as a painter, focusing on visual adaptations of those artefacts and sculptures, and translating them into paintings.
IQOQO: You mentioned that your style is inspired by classical European techniques, like those from the Renaissance and Baroque periods. How do you incorporate those aesthetics into your work?
Phoka: Yes, the painting styles I use often draw from the classical techniques of Renaissance and Baroque art, like chiaroscuro. This use of darkness and light aligns well with the themes I explore, blending elements from both African and European art traditions. In some ways, my work becomes a satirical amalgamation of these histories. I often describe myself as a painter of sculpture, where I adapt images of sculptures into paintings, melding these diverse aesthetic traditions.
IQOQO: Your work often explores satire. Could you tell us more about the role satire plays in confrontation?
Phoka: I do insist that my work is satire, though it might not be immediately obvious. I’ve been creating art for over 30 years, and along the way, I’ve learned to insert myself into ideas I resonate with. Satire allows me to make social commentary by assembling a collection of ideas from history and reframing them. Ironically, I started out without a conscious intention to make political art, yet my work naturally evolved into something highly political. It’s all about how art mirrors the complexities of history.
IQOQO: You mention that you don’t intentionally address contemporary issues, yet your work has a way of engaging with them. How do you view the connection between your art and current issues?
Phoka: My focus is on historical subjects, yet, as you say, my work naturally aligns with contemporary conversations. For instance, the issue of African artefacts in European museums is very relevant today. Africans are increasingly calling for the return of cultural objects taken during colonial times. While I didn’t set out to join this discourse intentionally, I find that my work resonates with it.
I often say I “stumble” upon these ideas – my art emerges organically from a mix of prayer, reading, and passion for human beings and culture. I prefer to express my views on canvas, letting my paintings speak for themselves.
IQOQO: What do you hope viewers will gain from your exploration of heritage and history?
Phoka: I hope that people begin to view heritage as more than just an individual cultural identity – it’s a collective inheritance. By reflecting on cultural heritage, viewers may realise how it shapes financial, social, and religious aspects of life. I want people to question what they inherit and pass on, moving beyond the simplistic “I am this” or “I am that” mindset. Cultural heritage should encourage us to see ourselves as part of a larger, interconnected history and future.
IQOQO: With this exhibition, is there a particular conversation you hope to ignite among viewers?
Phoka: Absolutely. I hope to spark a deeper conversation around cultural heritage. We tend to celebrate heritage superficially, especially during events like Heritage Day when we wear traditional attire, but we rarely go beyond the surface. What lies beneath? What do these traditions mean?
For me, cultural heritage is the foundation that interlinks financial, social, and religious heritage. My exhibition begins with cultural heritage, examining how it encompasses and connects with other aspects. For instance, how does religion shape our cultural inheritance? I hope viewers will start reflecting on what they’re inheriting and what they hope to pass on to future generations in terms of culture, religion, and values.
Find Phoka Nyokong’s confrontation at Gallery Momo until 15 December 2024.
