Advertisement · 728 × 90
#
Hashtag
#SouthAfricanArtist
Advertisement · 728 × 90
Two women recline side by side on a sofa (one from the left and the other from the right) their bodies stretched across the canvas with the easy confidence of people who fully belong where they are. South African artist Zandile Tshabalala dresses them in leopard-print slips and gives them striking red lipstick, details that make the painting feel lush, glamorous, and confident. Their poses echo the long European tradition of the reclining nude, but this scene refuses passivity. These women are not offered up for our fantasy. They occupy the canvas on their own terms. The mood is both intimate and alert. Even in repose, they project control. The surface is decorative and bold, with color and pattern doing as much emotional work as anatomy. Rather than treating Black femininity as marginal or secondary, Tshabalala makes it central, sensuous, and unmistakably modern.

That reversal is at the heart of the painting’s power. Born in Soweto , South Africa in 1999, Tshabalala has spoken about wanting to bring Black women forward in a history of art that so often pushed them to the edge or cast them in compromised roles. Here, she answers the old genre of the odalisque and reclining nude with a new image of beauty, leisure, and self-definition.

Rest becomes a political and poetic space. The women do not need to explain themselves. Their presence is enough. In the context of "When We See Us," a landmark exhibition centered on Black self-representation and Black joy, the painting feels especially resonant. It is luxurious, yes, but also corrective like a declaration that softness, vanity, beauty, sensuality, and rest all belong within the visual language of Black life. Tshabalala turns a familiar art-historical format into something freer and more generous, replacing the outsider’s gaze with one grounded in dignity, pleasure, and self-possession.

Two women recline side by side on a sofa (one from the left and the other from the right) their bodies stretched across the canvas with the easy confidence of people who fully belong where they are. South African artist Zandile Tshabalala dresses them in leopard-print slips and gives them striking red lipstick, details that make the painting feel lush, glamorous, and confident. Their poses echo the long European tradition of the reclining nude, but this scene refuses passivity. These women are not offered up for our fantasy. They occupy the canvas on their own terms. The mood is both intimate and alert. Even in repose, they project control. The surface is decorative and bold, with color and pattern doing as much emotional work as anatomy. Rather than treating Black femininity as marginal or secondary, Tshabalala makes it central, sensuous, and unmistakably modern. That reversal is at the heart of the painting’s power. Born in Soweto , South Africa in 1999, Tshabalala has spoken about wanting to bring Black women forward in a history of art that so often pushed them to the edge or cast them in compromised roles. Here, she answers the old genre of the odalisque and reclining nude with a new image of beauty, leisure, and self-definition. Rest becomes a political and poetic space. The women do not need to explain themselves. Their presence is enough. In the context of "When We See Us," a landmark exhibition centered on Black self-representation and Black joy, the painting feels especially resonant. It is luxurious, yes, but also corrective like a declaration that softness, vanity, beauty, sensuality, and rest all belong within the visual language of Black life. Tshabalala turns a familiar art-historical format into something freer and more generous, replacing the outsider’s gaze with one grounded in dignity, pleasure, and self-possession.

“Two Reclining Women” by Zandile Tshabalala (South African) - Acrylic on canvas / 2020 - Zeitz MOCAA (Cape Town, South Africa) #WomenInArt #WomensArt #WomanArtist #WomenArtists #ZandileTshabalala #Tshabalala #ZeitzMOCAA #art #artText #MOCAA #BlackArtist #SouthAfricanArt #SouthAfricanArtist #BlackArt

54 11 1 0
Video

Sharing a quick time lapse of the middle stages of one of my portraits. #jimmylaw #jimmylawart #originalart #contemporaryart #southafricanartist #artist #modernart #oilpainting #painting #portrait #portraitpainting its

6 1 0 0
Painting of an eye in a dark background.

Painting of an eye in a dark background.

I see you.

#art #digitalart #digitaldraw #digitaldrawing #digitalpainting #painting #ibispaint #experiment #artist #vividcolours #ZAart #SouthAfrican #SouthAfricanArtist
(Epilepsy warning for the last 2 seconds of the video)

5 1 0 0
Preview
Your Drive Me Wild Powered by found.ee

Hey you 😄

I dropped a new song called You Drive Me Wild and I think you might like this one!

It’s about that wild, all-consuming kind of love ❤️

found.ee/YouDriveMeWild

#chenelno1 #newmusic #indiemusic #southafricanartist #indierock

3 4 0 0
Preview
Enjoy these Rock songs today Powered by found.ee

When life gets tough, it's the people who stand by you that matter most. Hold Onto Me captures the essence of having someone who's got your back. Cherish that person in your life...

found.ee/HoldOntoMeAl...

#chenelno1 #newmusic #indiemusic #southafricanartist #sadsong

1 1 0 0
Post image

Check out Art TimeLapse : youtube.com/shorts/Fn7HO...
#animeart
#digitalart
#clipstudiopaint
#southafricanartist

2 0 0 0
Post image

"Fear defeats more people than any other one thing in the world."

Ralph Waldo Emerson

#art #kungfu #sketch #wip #justdraw #southafricanartist

6 0 0 0
Post image

I really like amumu's back story so i just did a sketch of his splash art

#leagueoflegendsfanart #amumu #art #southafricanartist #sketch #justdraw

7 0 0 0
Post image

I saw a cool ref of a anime girl with a bear hat so i decided to redraw it in my style with a capybara hat!

#art #artist #capybara #southafricanartist #justdraw

1 0 0 0
Post image

Ive been reworking this one over and over, its still not finished but im deciding to just post it so i can move onto the next piece, i keep getting anxious about this one so i think its time to let go of it

#art #illustration #southafricanartist #digitalart #bg3

1 0 0 0
Video

Collector's Palette 2026 daswyf.com/product/who-...

#fineart #daswyf #daswyfgallery #SouthAfricanArtist #SouthAfricanArt #Gallery #painting

2 0 0 0
Preview
Don't Freak Out - Chenél No.1 Powered by found.ee

If you need a reminder to breathe, trust, and hold on — this one’s for you 🤍

🎵 Don’t Freak Out is out now
👉 found.ee/DontFreakOut
.
.
.
.
.
#chenelno1 #newmusic #southafricanartist #lovesong #loveballad

1 1 0 0
Video

Honestly, breakups are rough, you wish they could see what they’re missing, but it’s done.

found.ee/HoldOntoMeAl...

#chenelno1 #newmusic #indiemusic #southafricanartist #sadsong

1 0 0 0
A young woman sits, filling the canvas in a tight, cropped view in a pose that feels both elegant and guarded. Her wavy black hair is gathered low at the neck, catching blue-green highlights in thick paint. Large, half-lidded eyes, ringed by violet shadow, hold a steady gaze beneath strong arched brows; her lips are closed, tinted a muted rose. She wears a white, thin-strapped camisole. Warm tan-and-brown skin is built from brisk strokes of peach, rust, and pale yellow, with cool green and purple dragged into the shadows. One arm folds across her chest, the forearm cutting a diagonal through the composition. Her hands rise near her cheek, fingers loosely bent as if pausing mid-thought. The surface is visibly worked with overlapping strokes, small ridges, and scraped passages that let underlayers breathe through. Behind her, a saturated violet ground is scored with a loose golden grid.

Dated 1938, this portrait shows Irma Stern’s modernist compression of simplified forms, heightened color, and a direct encounter that refuses decorative sweetness. The title’s “Malay” label shows how identity can be assigned from the outside. Stern counters that flattening by making the sitter feel self-contained, watchful, fully present.

The Brücke-Museum’s exhibition asks us to hold Stern’s contradictions together. She trained in Weimar and Berlin and was persecuted in Nazi Germany as a Jewish artist, but she was also a white South African working within colonial and apartheid-era power. In that light, the woman’s unflinching gaze might be a quiet refusal of easy categories.

A young woman sits, filling the canvas in a tight, cropped view in a pose that feels both elegant and guarded. Her wavy black hair is gathered low at the neck, catching blue-green highlights in thick paint. Large, half-lidded eyes, ringed by violet shadow, hold a steady gaze beneath strong arched brows; her lips are closed, tinted a muted rose. She wears a white, thin-strapped camisole. Warm tan-and-brown skin is built from brisk strokes of peach, rust, and pale yellow, with cool green and purple dragged into the shadows. One arm folds across her chest, the forearm cutting a diagonal through the composition. Her hands rise near her cheek, fingers loosely bent as if pausing mid-thought. The surface is visibly worked with overlapping strokes, small ridges, and scraped passages that let underlayers breathe through. Behind her, a saturated violet ground is scored with a loose golden grid. Dated 1938, this portrait shows Irma Stern’s modernist compression of simplified forms, heightened color, and a direct encounter that refuses decorative sweetness. The title’s “Malay” label shows how identity can be assigned from the outside. Stern counters that flattening by making the sitter feel self-contained, watchful, fully present. The Brücke-Museum’s exhibition asks us to hold Stern’s contradictions together. She trained in Weimar and Berlin and was persecuted in Nazi Germany as a Jewish artist, but she was also a white South African working within colonial and apartheid-era power. In that light, the woman’s unflinching gaze might be a quiet refusal of easy categories.

“Young Malay Maiden with Black Hair” by Irma Stern (South African) - Oil on canvas / 1938 - Brücke-Museum (Berlin, Germany) #WomenInArt #IrmaStern #Stern #art #artText #artwork #WomensArt #WomanArtist #WomenArtists #BlueskyArt #PortraitofaWoman #BrueckeMuseum #SouthAfricanArtist #WomenPaintingWomen

47 9 0 0
Video

Arthur and Martha: an unboxing clip x
#art #artism #southafricanartist #southafricana #artonpaper #unboxing

1 0 0 0
Video

Do you know where to find me? 😊 No? Hit the link below and feel heartbreak and pure joy through song ⤵️

found.ee/ChenelNo1Music

#chenelno1 #newmusic #indiemusic #southafricanartist

2 0 0 0
Painted in 1936, this portrait reflects artist Irma Stern’s fascination with the diverse communities of South Africa and her commitment to character over costume. Critics often note her “dignified” portrayals; here, the calm face, lowered eyes, and reed-filled setting suggest poise rather than spectacle. The jewelry and fine sari imply a sitter of some standing, likely from the Indian community established in Natal by the late 19th and early 20th centuries. Stern’s impasto scraped and laid on in quick, directional marks keeps the surface alive, especially in the sari’s creamy folds and the reeds’ vertical energy. 

A woman appears against tall, pale-green reeds, her head tilted slightly left, gaze lowered and thoughtful. Her medium-brown skin is modeled with thick, lively strokes. Her eyelids are heavy, almond-shaped, with dark lashes and a soft highlight along the brow. A deep-green sari blouse and a creamy pallu drapes diagonally across her chest, edged with a fine green line. A single red stud earring catches the light while at her neck hangs a pendant with a rosy stone in a gold setting. Her black hair is pulled back into a low knot. The background is a field of vertical, grass-like strokes, echoing the sari’s green and framing her quiet, dignified presence.

Stern once wrote that travel and encounter “opened new doors of color”; even at home, she sought subjects whose presence sparked that chromatic charge. Exhibited as “An Indian Woman” at the Irma Stern Museum in 2020 and later titled “The Green Sari,” the work carries a layered history (it earlier appeared at auction as “Malay Lady in Green”), but Stern’s intent holds steady: to honor a modern woman with individuality and grace. As her reputation grew, Stern balanced local portraits with journeys abroad, refining a palette of greens, yellows, and warm earth tones that became signature in her mature style.

Painted in 1936, this portrait reflects artist Irma Stern’s fascination with the diverse communities of South Africa and her commitment to character over costume. Critics often note her “dignified” portrayals; here, the calm face, lowered eyes, and reed-filled setting suggest poise rather than spectacle. The jewelry and fine sari imply a sitter of some standing, likely from the Indian community established in Natal by the late 19th and early 20th centuries. Stern’s impasto scraped and laid on in quick, directional marks keeps the surface alive, especially in the sari’s creamy folds and the reeds’ vertical energy. A woman appears against tall, pale-green reeds, her head tilted slightly left, gaze lowered and thoughtful. Her medium-brown skin is modeled with thick, lively strokes. Her eyelids are heavy, almond-shaped, with dark lashes and a soft highlight along the brow. A deep-green sari blouse and a creamy pallu drapes diagonally across her chest, edged with a fine green line. A single red stud earring catches the light while at her neck hangs a pendant with a rosy stone in a gold setting. Her black hair is pulled back into a low knot. The background is a field of vertical, grass-like strokes, echoing the sari’s green and framing her quiet, dignified presence. Stern once wrote that travel and encounter “opened new doors of color”; even at home, she sought subjects whose presence sparked that chromatic charge. Exhibited as “An Indian Woman” at the Irma Stern Museum in 2020 and later titled “The Green Sari,” the work carries a layered history (it earlier appeared at auction as “Malay Lady in Green”), but Stern’s intent holds steady: to honor a modern woman with individuality and grace. As her reputation grew, Stern balanced local portraits with journeys abroad, refining a palette of greens, yellows, and warm earth tones that became signature in her mature style.

“The Green Sari” by Irma Stern (South African) – Oil on canvas / 1936 – Irma Stern Museum (Cape Town, South Africa) #WomenInArt #WomanArtist #IrmaStern #WomensArt #WomenPaintingWomen #WomenArtists #SouthAfricanArt #SouthAfricanArtist #BlueskyArt #OilPainting #FemaleArtist #art #artText #artwork

66 7 0 0
Video

Starting the day off well makes a big difference. Enjoy She's a Flamingo on Spotify today 🦩

songwhip.com/chenel-no1/s...

#chenelno1 #shesaflamingo #rockmusic #indierock #indierockmusic #southafricanartist

0 0 0 0
Post image

The children of Gaza traumatized by the genocide and apartheid occupation...
#southafricanartist #freepalestine #fightforpalestine #gazaunderattack #thewestbankunderattack #fromtherivertotheseepalestinewillbefree #genocide #childrenofgaza #starvasion #hunger #kids #rafahunderattack #kidsofPalestine

1 1 1 0

Falling in love is one of the best feelings ever. Staying in love takes work but it's totally worth it. This song is about young love 💞

songwhip.com/chenel-no1/y...

#chenelno1 #newmusic #indierockmusic #southafricanartist #indiepopmusic

4 0 0 0
Video

Starting a new #painting.

#lifedrawing #figuremodel #figuredrawing #figurativeart #contemporaryrealism #nudedrawing #nudeart
#portraitdrawing #realism #representationalart #comtemporaryfigurative #drawnfromlife #figure #fineart #charcoaldrawing #figurestudy #emergingartist #southafricanartist

0 0 0 0
Video

Sharing my music means embracing both the good and the bad. I strive to take criticism in stride and cherish the supporters who get me. Music isn’t just what I do, it’s who I am, and I’m here for the long haul.

Thank you for your support ❤️
.
.
.
.
.
#chenelno1 #southafricanartist

2 1 0 0
Preview
Enjoy these Rock songs today Powered by found.ee

If winter had a song, it would sound like this...

This song appears on my HOLD ONTO ME album, available on all major streaming platforms.

found.ee/HoldOntoMeAl...

#chenelno1 #sadsong #sadsonglyrics #indieartist #southafricanartist

2 0 0 0
Video

This morning I noticed the 370 effect 😂 How about getting a subscriber for every video I post? Thank you for your support 😍

youtube.com/@chenelno1?s...

#chenelno1 #youtubeshorts #southafricanartist #indiemusician #songwriter

2 0 1 0