Cassius Khumalo

Noting how paradox to the equal and abundant nature of spirituality or essence, a natural conflict occurs as a consequence of our choice of representation and identification. Resulting in divisions and confusion as some begin to deem their spiritual belief more supreme than others.
His subjects are expressed through his works in four series, God’s Face, Deconstructive Faces and Figures, Manhood, and Thandeka. Each series shows a different approach and perspective to his subject.

God’s Face

For as long as we can remember, humanity has had an incessant preoccupation with embodying its God-self. Driven by the understanding that we are creations that resemble the creator, we instinctively looked for ways to remind ourselves of our nature and connection with all that is, and greater consciousness. And for this reason as Africans, we created powerful symbols, like the mask. Historically, the African mask served as a portal into the spiritual. Where whoever wore it temporarily disassociated with their physical self, received a new identity, and ascended into the spirit world. In this spiritually connected state, they would receive divine messages which they would share with other villagers. This masked identity was treated with the same reverence as God, manifested in symbolic form. As in those moments, God and the mask were one – and as such, it represented God’s Face. In his body of work ‘God’s Face’, the Artist explores the concept of the African mask and its historical and current relevance to African Spirituality. He also goes on to explore other ‘God Face’ symbols like the divine ‘red and white beads’ common to South Africa, and the face of the black child in its godlike innocence. In his predominant use of black chalk and dark tones, he aims to recapture the magic of blackness, and the stolen beauty of being divinely African, in art form.

Deconstructive faces and figures:

Deconstructive Faces and Figures series explores the process of transformation, the changing of beliefs and ways of being and seeing, as a result of exposure. Growing up exposes us to many things and experiences, but some have greater and longer lasting impact than others. To the extent that they slowly and gradually deconstruct and transform us from what we are into something completely different. Which speaks to the deconstruction of our identity, the deconstruction of self. It explores how exposure to something seemingly insignificant, changes a person forever. Opening new avenues and a new life. The process can cause conflict and misunderstanding from those looking at you from the outside unaware of what is going on within. But what is the solution, and where can we find it? The series follows the process of transformation from the moment of exposure to the effects of that transformation and the overall consequences. Studying what changes within us and about us over time. This brings to question what have we been introduced to that has changed our lives.

Manhood:

This series explores the conflict around the subject of masculinity between Western culture and African culture. In a world where fluidity is seemingly taking over traditional gender roles from a Western perspective – what does it mean for the heterosexual traditional African man? Questioning our fundamentals of understanding what is masculinity. What is being a man? What is happening to masculinity? Is masculinity fading and becoming feminized? Is the traditional role of the African male at risk? How is this affecting the traditional family structure? Should we be buying into Western ideas of masculinity? How can we accurately with satisfaction define masculinity within the African context? Is there a healthy version of patriarchy and what does it look it look like? It interrogates this seemingly side-lined and unpopular conversation while attempting to help us remember who we are as African men.

Thandeka:

From the premise of the Deconstructive faces and figures. This series explores Thandeka, a lady from the villages, an individual character who migrates from the rural to the city for work for a better life. Once she settles she builds a home and seldom goes back home. Over time losing her identity, and her cultural practices, and forgets important information like her clan names. The series explores how she expresses or manifests this evolution in appearance, clothing, culture, morality (or the loss of it), and the loss of some of her teachings. How she changes as she adapts to the city, becomes more like it and less of herself