Durant Sihlali

Durant Basi Sihlali, born on March 5, 1935, in Germiston, Transvaal (now Gauteng Province), was a profound South African artist whose work compellingly documented the urban life of black South Africans. Sihlali's early fascination with art was sparked by the wall murals painted by Xhosa women in Cala, Eastern Cape, where he spent part of his childhood with his grandparents. Despite initial discouragement due to gender norms, his passion for art persisted, leading him to informal art classes in Moroka and later, more formal training under notable figures like Cecil Skotnes at the Polly Street Recreation Centre.

Sihlali's approach to art was distinctive; he focused on the realities surrounding him, a perspective that was both a departure from his mentor's methods and a resonance with earlier South African artists like Gerard Sekoto. This approach, emphasizing the genuine depiction of township life, led to his work being categorized as 'township art'—a label Sihlali contested, highlighting the deeper, resistance-laden narrative of his art against apartheid.

Through the 1960s to the 1980s, Sihlali's watercolours emerged as a significant part of his legacy, capturing the essence of life under apartheid with a nuanced sensitivity. His artistic repertoire extended beyond watercolours to include pencil, charcoal, pastels, oil, and various other mediums. Sihlali's work, deeply rooted in his experiences and observations, remained largely personal due to the sensitive nature of his subjects and his refusal to commodify his subjects' struggles for a detached audience.

Sihlali's international experiences in the mid-1980s, including a scholarship to study in Nice, France, broadened his artistic horizons, introducing elements of abstraction and global artistic themes into his work. His leadership roles in art education, particularly at the Federated Union of Black Artists (FUBA), underscored his commitment to nurturing future generations of artists.

Throughout his life, Sihlali was celebrated both locally and internationally, receiving numerous awards and showcasing his work across the globe. His passing in May 2004 marked the end of a prolific career, but his work continues to resonate, housed in prestigious collections and institutions, testament to his enduring impact on South African art and its narrative.

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