BROWNCOFFEEMOKA is a designer, illustrator and visual artist, whose creations are black, defiant, and socially and environmentally conscious. She is also strongly connected to environmental concerns, and creates her art sustainably by drawing on recycled paper, employing reused fabrics and upcycling. We talk to her about her recent collection NA BOLAYI YA EBALE CONGO, the Afropunk exhibition and working with sartorial menswear brand Art Comes First. Through her work, she follows in the footsteps of her Congolese ancestors, who shine a guiding light on the harmonious relationships between nature, animals, art and humanity.


Tell us a bit about your upbringing.

I grew up with my two little sisters in a multicultural family. My father is Congolese and my mother is French. We have a lot of different origins: Polish, Russian, English, Spanish, Indian, Northern African, South American… I did not really see that there was a difference between black and white when I was at home.

But the outside world has shown me that black and white are not the same. At home, my mother was not white and my father was not black. They were just two people who had chosen to love, respect and grow together and even if they knew who they were, what mattered were their hearts, their souls and the energy they were sharing.

Respect, open-mindedness, sustainability, knowledge, culture and art have been part of my life since my childhood. We have learnt that all life matters: flora and fauna, human lives, mineral lives, previous lives, spiritual lives – all have their importance on Earth.

Art has been probably the most important element in my everyday life. I started drawing when I was maybe 2 or 3 years old. It was very natural for me and it was the moment I could be at peace with myself and with my thoughts. I was happy to be alone to draw and to create. I visited a lot of museums and art galleries with my parents. They taught me a lot about art, culture and history.

Have you always wanted to become a visual artist?

I think so, yes. Of course, when I was growing up, I was trying to fit into society and to find a ‘real job’, like being a doctor, or a lawyer, but deep inside I wanted my art to flourish. I realised that when I was 14. It was hard to convince my parents, but they eventually saw that it was part of me and understood that they had been feeding my love of art since childhood.

Africa Is Now Magazine - BROWNCOFFEEMOKA, Congo, Art, African Art

How did your collaboration with Art Comes First come about?

I was their assistant for 6 months, helping them in the design, during the showrooms, etc. One day Sam Lambert saw one of my artworks on Instagram and loved it. It became part of their collection for Complex Con in LA. I stopped working for them in January. I have learnt a lot with them, but I needed to focus on my art and to work for myself.

Tell us about your exhibition at AFROPUNK Paris 2019.

It was a fantastic moment in my creative life. It was all about culture, art and energies. A lot will come from this exhibition. It was the first time AFROPUNK Paris curated an art exhibition during the festival. I was chosen alongside various artists to be part of the Arts and Times exhibition. Ami Weickaane, the curator of this exhibition, was very kind, helpful and a great listener. She felt the vibrations of my artworks and decided to highlight them. I have to thank her so very much for that. I exhibited 4 artworks about the universe: Mother Earth, the spirit of my ancestors and the essence of womanhood, and 4 photographs about my project NA BOLAYI YA EBALE CONGO that were taken by photographer Marc Posso. It was great to let the world see the versatility of my work and the message I want to bring to people. It was a great moment of communication, of gathering and a flourishing and creative time. I am currently working on the next chapter of my project. I can already feel the highest vibes of my ancestors.


‘My roots are essential. They have been part of me for all my life. I cannot even imagine creating without thinking about them. One of my uncles told me: “You are the reincarnation of your ancestors. Never forget where you come from and who you are”.’


NA BOLAYI YA EBALE CONGO highlights art and crafts across the different ethnic groups in Congo. What are your thoughts on the perception that due to the political unrest portrayed by the media, there is not much of an art scene in Congo?

One of the saddest things for me is that people want power, money and material possessions. They do not focus on the truest and purest essence of life. My ancestors were doing divine masterpieces – in textile, sculpture, painting, jewellery, etc… And still, we have a lot of gifted craftsmen and artists in Congo. Unfortunately, the country does not give them what they need to shine in the way in which they deserve. Our grandparents gave their lives for us to be an independent and free country. It is as if we have forgotten their sacrifice or as if we take this for granted.

Congolese artists are highly talented. We just need to showcase them, to help them to spread their magic, their love and their message. That is what I tried to do with this project. My goal was to let the world know about our rich culture, our great art, our magnificent pride, and about our traditions. I wish people knew the history of Congo better. What we have been through, how strong we are, how royal we are. My duty is to give light, respect and love to that land, which I have yet to visit. A part of my soul and heart were born in Congo, or Congo was born in me I don’t know. But there is this sacred link between my country and me.

What inspires your creativity?

I can be inspired by so many different things… A colour, a sound, a feeling, an energy can inspire me. History, cultures and roots also inspire me and I am always looking for cultures or traditions I have never encountered before. Beauty, spirituality and mysticism are also part of my essential inspirations. But my general inspiration comes from what the Earth, the moon and the universe give me. It comes from the sacred energy around me. Also, pain, anger and sadness can give me material to work with.

Africa Is Now Magazine - BROWNCOFFEEMOKA, Congo, Art, African Art

You incorporate the theme of ancestry into your art, why is that important to you?

It is very important to know my heritage, to be immersed in my culture in order to honour my ancestors. They have been creating those beautiful and strong traditions for such a long time. They share their history with me. They guide me in my everyday life. They bless me with their light and with their energy. I always feel their vibrations, so it is completely natural to pay tribute to them and to respect them by creating for them and with them.

Without my ancestors I would not be myself. My roots are essential. I cannot even imagine creating without thinking about them. One of my uncles told me: ‘You are the reincarnation of your ancestors. Never forget where you come from and who you are’, and this makes true sense to me. My parents have always told me about my past, my history and my heritage, which is why I am permanently flourishing.

Your art deals with spirituality, nature, culture and love, among other things, what interests you about these themes?

Those themes are the most pure, raw and deep to me. They deal with the true essence, the ancestral, and the most natural energy we can have. To really understand these themes, you have to connect yourself to the essence of art and creation. Everything starts with creation. You have to search your soul; through your pains, your feelings and your emotions to sincerely create. Most of the time it can be draining but this is the most real and sacred kind of art.



We came across Dan Halter’s work on a cold First Thursday and were immediately captured by his vivid and striking images. Dan possesses the unique ability to take materials ubiquitous to South Africa and use them to tackle pervasive issues affecting Africa and, more specifically, Zimbabwe.

Cross The River In A Crowd - Africa Is Now Magazine

Who is Dan Halter?

I am a conceptual artist making work about Zimbabwe and South Africa, and tackling issues I find personally relevant. I grew up in Zimbabwe and relocated here to study art. I also have Swiss roots on both sides of my family and have spent some time in Switzerland.

How and why did you start making art?

I started drawing and then painting when I was quite young which I really enjoyed. I was encouraged by my family and I decided early on that I would like to pursue a career as an artist. I have always found art to be a great way to express myself. I also like the fact that I am more or less free to do whatever I want, whenever I want.

I was fortunate that my grandmother enrolled me for art classes with Helen Lieros at Gallery Delta in Harare at the age of 10 or 11. There, on Saturday mornings, I attended free-spirited art classes that I continued throughout high school, doing O and A Level art there as an extra subject.

Cross The River In A Crowd - Africa Is Now Magazine
Cross The River In A Crowd - Africa Is Now Magazine

Do you consider yourself firstly a Zimbabwean living in South Africa or an African living in South Africa?

I do feel a strong connection to both Zimbabwe and South Africa. I spent the first half of my life, including the most formative years, in Zimbabwe (18 years) and the second half in South Africa (20 years up until now). I also spent 4 years in Switzerland, 2 influential years after leaving home for the first time at the age of 18, and 2 after graduating from Michaelis School of Fine Art.

Your current exhibition Cross the River in a Crowd includes a sculpture of a mother with a baby on her back, balancing a load on her head. Tell us more about this imagery.

The mother and child is a recurring theme in art and I have used variations of this in my art before. In Shona sculpture, the abstract mother and child embracing is so common that it often found as a curio. In this version of mine, the mother is carrying her child on her back and a load on her head in a way that is common in Zimbabwe. The load in my work is vastly exaggerated and suggests the balancing rock formations common to Zimbabwe that are also depicted on many Zimbabwean bank notes. For me, the image of a mother and child, half-submerged in a river border crossing, with all her worldly possessions on her head, suggests the height of desperation.

What is your process for choosing material for a project?

I choose materials that resonate with me. The project will normally dictate the materials in some way. The starting point may be a proverb or expression that lends itself to being visualised in a certain way. I gravitate towards cheap and ubiquitous materials such as plastic-weave bags, matches, paint sample cards and beads. The process of making the work is often labour-intensive.

How do you know when a work is finished?

When I used to paint, I struggled with this issue and I often over-worked my paintings. With the work I make now, I am more removed from the process and so it is easier for me to tell when something is finished.

Cross The River In A Crowd - Africa Is Now Magazine

What is the best advice you have been given?

It’s easier to ask for forgiveness than than to ask for permission.

You have a brilliant ability to tackle pervasive issues that affect the majority of Africa. How do you manage to stay both personal and original in your creative endeavours?

Thank you. I am inspired by stories and there is an abundance of good stories to be found here.

If you could change one aspect of our society through your work, what would it be?

I would like my work to challenge people and hopefully create a more tolerant and understanding society.

Cross The River In A Crowd - Africa Is Now Magazine

Have you ever been faced with negative feedback? How was this reflected in your work, if at all?

I have been faced with some negative feedback that I did not agree with and it has not reflected in my work.

What is coming up next for you?

I have an exhibition coming up with This is No Fantasy, a collaboration between respected Melbourne gallerists Dianne Tanzer and Nicola Stein, in Australia in November.

Where can people find out more about you and your work?

Via my website:


Cross The River In A Crowd - Africa Is Now Magazine

TEXT: JOHN CLAUDE @_johnclaude


An artist interested in the reimagining of African identities and stories, Mark Antony Modimola uses ink, acrylics and digital art to explore representations of blackness and contemporary Africa through themes such as self, Afrofuturism and nature.

Africa Is Now Magazine - Mark Draws
Africa Is Now Magazine - Mark Draws
Africa Is Now Magazine - Mark Draws
Africa Is Now Magazine - Mark Draws
Africa Is Now Magazine - Mark Draws
Africa Is Now Magazine - Mark Draws
Africa Is Now Magazine - Mark Draws

With Africa’s colonial history, how does one begin to reimagine African identities and stories?

One might begin by looking at African identities and storytellers who have made it their mission to tell African stories from the mind of an African.

We can look at the cultural writings of Wole Soyinka and Credo Mutwa, and the artwork of Kehinde Wiley and Nelson Makamo in order to begin gauging the vibrant depth of being African. The intention being to make oneself aware of who we are, of Africa and its African qualities.

We are rich in stories waiting to be uncovered. I believe Africans should focus on their own voice, and African stories being told by old and young Africans, as much of our history has been told for us.

What themes are you exploring with your work at the moment?

My work currently deals with self-love and the relationship we share with water and our hair as Africans. Our hair forms part of our identity as Africans, water forms part of us as beings, thus both are physically and metaphysically tethered to our vision of self.

How big is the role that hair plays in our identity as Africans?

Hair for us as Africans is a power tool. We have used it to resist oppression and to distinguish ourselves, our cultures and our mood. The texture, colour and forms are uniquely African; it’s our voice.

We are able to manifest thoughts through our hair; to connect to each other. It connects to our subconscious and thus forms part of our dreams and identity. Hair is aspirational and a statement for Africans as a result.

Which artists or creatives have influenced or inspired your creative process?

Definitely, the music of Yasiin Bey (aka Mos Def) and Fela Kuti, and Credo Mutwa’s African symbolism and knowledge. They are all incredible storytellers. I love the visual art of Harmonia Rosales and James Jean. Their subjects, reimaginings and scale of work inspire my own career as a storyteller and artist.

Where can people find your work?

On Instagram @mark_draws and at The Moral Kiosk in Melville, Johannesburg.

Africa Is Now Magazine - Mark Draws
Africa Is Now Magazine - Mark Draws
Africa Is Now Magazine - Mark Draws
Africa Is Now Magazine - Mark Draws
Africa Is Now Magazine - Mark Draws


Currently living in the US, Nigerian artist Wole Lagunju focuses on challenging and critiquing notions of imperialistic cultural idioms. He talks to AFRICA IS NOW about his exhibition Yoruba Remixed, the role of African history in his art and his exploration of the symbolism of Gelede masks.

Who is Wole Lagunju?

I grew up in Osogbo, a town in Western Nigeria famous for its art movement. Osogbo is also known for the annual Osun-Osogbo festival, an event which is a celebration of the river goddess, Osun. I graduated in 1986 from the University of Ife (now Obafemi Awolowo University) with a Bachelor’s degree in fine arts and a specialisation in graphic design. Over the years, my art practice has examined the cultural idioms and visual design of the indigenous artistic practices of traditional Yoruba women in Nigeria. In my paintings and installations, I have explored the design and motifs found in adiré textiles, traditionally dyed indigo fabric. Recently my art has also examined Gelede masks with a view to bringing fresh insights into Yoruba mask making.

Gelede is a male-oriented dance which celebrates women and their sacred powers of procreation and sexuality.’

How did you start painting?

My painting experience started as a youngster growing up in Osogbo, in the early ’70s. I grew up in the midst of artistic activities and participated in the Osogbo art movement under the tutelage and mentorship of some of the principal artists like Jacob Afolabi. Professional painting started for me while at the University of Ife, but I did not pursue it as a major. It was one of the electives I chose towards a degree in graphic design. After my graduation from the University of Ife, I worked at The Daily Times in the early ’90s as an illustrator. Thereafter, I had a brief stint in advertising and after some travelling in Europe, in the late ’90s I decided to practice as a full-time studio artist with an initial bias for painting and drawing.

What role does African history play in your paintings?

My relocation to the Western world has reintroduced me to societies with an historical background of colonisation and imperialism. My living experiences in them have exposed me to the present and historical roles these societies have played in the shaping of the African continent. For example, in the US there’s a historical and cultural background of slavery and racism. It has led me along a path towards re-evaluating the purpose of my art and the issues that I choose to address. The social experiences I have encountered have made me rethink the purpose of art in itself and the role of the contemporary African artist.

In my recent artworks, I address the issues inherent in African history by critiquing imperialistic cultural idioms and interrogating the colonisation of Africa and the subjugation of its traditional culture.

What place does African culture and tradition have among today’s African youth?

Globalisation has opened a vista of world culture to the African youth with access via the internet to a plethora of information, introducing them to a wide array of cultural choices. Traditional African and indigenous culture is now thought of as unfashionable or inferior.

The Yoruba Remixed paintings utilise a lot of traditional masks. Can you elaborate on their symbolism?

My paintings in this exhibition reference Gelede masks. Gelede masks are worn by Yoruba menfolk to celebrate women and their relevance to Yoruba society. Gelede is a male-oriented dance which celebrates women and their sacred powers of procreation and sexuality. The masks and dances satirise, entertain and educate onlookers and the society at large. As much as Gelede celebrates the powers of motherhood in Yoruba women they are also a salutation to their personal physical attributes and endowment. This is found in the meaning of the word Gelede itself. ‘Ge’ means to ‘pet or tenderly deal with’, ‘ele’ refers to a woman’s private parts and ‘de’ means ‘to soften them with gentleness’.

Gelede masks have elaborate wooden superstructures with carved human and animal imagery. These are spiritual and physical representations alluding to the awesome powers of ‘our mothers’ or women. They also represent the Yoruba notion of the physical head or ori of an individual. Ori being the seat of the life force in the physical and supernatural realms.

Check out the Yoruba Remixed artworks here.


We spoke to the South African queer illustrator extraordinaire about his multi-cultural upbringing, influences and one-of-a-kind illustrations that address hard-hitting subject matter, spanning the spectrums of race, sexuality and gender identity, with mystical themes and colourful vibrancy.

Tell us a bit about your background.

I am currently 22. I was born to a Zulu mother and Cameroonian father who nurtured my artist’s dreams from a very young age. As a result, I have always been clear about who I am and what I’d like to be, with regards to my skillset, career choice, sexuality and transgender identity. Around grade 10 marked the first time I started doing graphic design for clients, ranging from government to other high schoolers. Starting graphic design and making money from it at such a young age made me enjoy the idea of freelancing, but my African parents were not about to let me do that (laughs). In 2014, I started first year at the Open Window Institute studying visual design and in 2015, I found my true calling when I had to select my preferred majors and electives. I fell in love with Illustration that year and it opened up my eyes to my design potential. In 2016, I left Open Window due to lack of funds. That was also the day I decided to embrace the freelance life I had initially wanted. Attending design school did make some things easier to grasp and I would definitely advise going to a school dedicated to your preferred craft, purely to learn and apply the fundamentals of the field. The choice to freelance is the reason ‘Khanya, The Designer’ , as you know him today, even exists.

‘The choice to freelance is the reason “Khanya, The Designer” as you know him today even exists.’

What did you learn when you were studying graphic design?

I learnt about how art can be applied and the potential that exists in illustrations. I designed everything, mostly using Adobe Illustrator, from stamps, storybooks, plush toys, murals, apparel design to how to draw faster and how to use a wider range of mediums. Although, once I started freelancing, I really started to embrace, explore and draw using Adobe Photoshop as a medium which isn’t something I would say I learnt during my schooling. But it shaped my visual art style to what it is today, no doubt about that.

Growing up, did you have any African creative role models, and if so who?

My aunt, my mother’s youngest sister, was the very first queer woman of colour whom I witnessed explore the arts and do amazingly at it. She would bring back huge paintings with dark narratives and nudity. I’d stare at her artworks as they lay on the dining room table and get lost in the colours and detailing. She also really encouraged me as an artist around that time and would use some of my ‘babydrawing’ techniques in her pieces. My mother was another creative role model. She studied fine art when she was young and was incredible at it, but unfortunately, her parents didn’t encourage her at all. I remember seeing her highly detailed, full-page drawings of my baby hands, feet and eyes. Honestly, my mother is far more talented than me.

How did your unique illustrating style come about?

With regards to the visual execution – the colours I use, shading techniques, effects and overall look of my work – it was intensely influenced by my long-term, serious relationship with pop style and 90s cartoon, as well as using Adobe Photoshop and exploring the effects, brushes, etc. I pretty much never draw on paper, which isn’t great, but damn impressive, if you ask me.

What influences the subject matter that your artwork depicts?

The narratives and stories behind my illustrations have been influenced by my experiences on Earth as Khanya. The experiences within my existence as a young, black, queer transman and my relationship with the lack of representation, and complete erasure, of those like myself in the art scene; my experiences with my blackness and masculinity, my two years of homelessness and my relationship with the Earth, to name a few.

Take us through the process of creating one of your pieces, from inspiration and idea to the Instagram post.

I usually either create a quote or phrase for myself or read through text messages, blogs or articles on specific topics to get the inspiration flowing. Thereafter, it’s a matter of looking at lots, I mean lots and lots, of pictures and videos, ranging from tattoo designs, avant-garde photography, portrait photography, memes; ranging from explicit content to make-up tutorials. Once I have an idea of at least three somewhat correlating artworks (because you can only post three artworks per row on Instagram), it’s a matter of setting up the document on Photoshop. I usually go for an A2 size page, 300dpi and I make the page an off-white colour. From that point, it’s doing the linework, or ‘the skeleton’ of the artwork as I call it. After linework, it’s the base colours for each element, and after the base colours, I add shading and highlights where necessary. After shading and highlights are incorporated, then it’s the final effects, like lens flares, patterns on clothing, piercings, text, tribal paints or any other markings. The final touch is my artist’s tag. It all takes me anything from two-and-a-half to four hours per artwork.

Does social media affect the type of work you create?

It used to. I would make more aesthetically pleasing artworks that always surrounded the trending topics on social media. But that all changed when I started focusing on a specific portion of the population – LGBTQIA+ of colour. From that point on, social media has not had an effect on my artwork or stopped me from being more ‘obscene’ or vulgar. If anything, the only way social media has affected my work is with regards to its reach and the speed with which I work.

Your Instagram says ‘Vulgar, Feminist, Surreal, Unapologetic art’ – could you elaborate on how these words define you as an illustrator?

Vulgarity and nudity have always been the ideal aesthetic to me. Feminist is how I was raised and how I remain living. Surreal is defined as being ‘bizarre’ and I am neither ordinary as an illustrator nor as a person. I have a firm love for being surreal. I’m a very unapologetic, especially when it comes to empowering myself or my group of people. I have no concern as to how people feel about the nudity and the queer content of my artworks. I am very unapologetic about my attempts to represent those who don’t exist in mainstream or ‘underground’ art in a beautiful and empowering way. Living unapologetically does not mean ‘living without shame’, we need shame as it keeps us in line and aware of what is okay and what isn’t. Living unapologetically means ‘living without fear’ and that is the one thing I want to push onto those I represent through Illustration. Sexuality and gender identity are strong themes in several of your artworks.

As a South African queer illustrator, what message do you hope your audience to receive pertaining to these topics?

I’d like my audience to understand that they are deserving. Deserving of being depicted in their natural and beautiful glory. That there is more to them than what the mainstream media will ever say. I’d like to understand their aesthetic and how powerful their narrative is, even on paper. I’d like them to see my efforts in trying to make us and our images familiar, but never basic. I’d like them to see that in order to get things done right, we sometimes have to do it ourselves rather than waiting for the world to grow up and see our magic; that we are here to dominate all spaces from which we have been erased and kept out of for far too long. Our voices are louder than you think.

‘Facing your inner demons and taking control of your happiness and existence as a black queer is not the easiest thing to do and a lot of us are still in the process of doing that. But once you do, despite what people say, you will feel yourself grow a few inches, I swear to the Universe. It’s so liberating.’

What are some of the biggest obstacles you’ve had to overcome to get to a point where you express yourself and your art so freely?

Finding my worth as an artist, as a young artist and as a black LGBTQ artist was the biggest obstacle. I found myself treating myself like the world treated me. I never thought I could be as good as I am now, never thought I’d be celebrated or accepted – it didn’t feel possible. I lived in an odd state of consistent fear, but eventually, I realised that it’s no way to progress. You will never step outside of your comfort zone if you keep telling yourself it’s going be effortless. Admitting to my parents that I was transgender and having them accept me was the biggest breath of fresh air this year (2018). Facing your inner demons and taking control of your happiness and existence as a black queer is not the easiest thing to do and a lot of us are still in the process of doing that. But once you do, despite what people say, you will feel yourself grow a few inches, I swear to the Universe. It’s so liberating. I don’t see myself having any obstacles now unless I make them myself.

What message do you have for other African queer creatives who might fear being ridiculed for expressing themselves as intimately as you do?

The best advice I can give you is: if you are worried about what other people will think about you, then stop thinking about them for a moment and think about you. Your will and worth are stronger than their words. Remember, your comfort zone isn’t the same as your safe zone. Always remain safe because you are the most important figure in this process, but don’t allow yourself to get comfortable with a certain arrangement – ‘get out of your comfort zone’. We are never sure about how people will react to us, so if you are worried, then make sure you are safe if you’re going to take that step of letting people know. But have no fear, show no remorse about telling the art world who you are. You do not and will not (ever!) stand alone.

‘The same goes for the attitude towards woman creatives. Our experience, regardless of the route it takes in our art, whether it’s black queer orientated or black womxn orientated, etc, will always be the black experience. Why? Because we are black and experiencing experiences. It’s that simple.’

What is your opinion of the status quo of the African creative climate, and is there anything that you would like to see changed?

A change in how people police the content black artists can produce is something I would love to see transform. I have had people come up to me and ask me to do art that’s ‘less LGBTQIA+ and POC orientated’ because ‘I would also like to see myself in your art’. I have had a person say my art won’t get far because it’s ‘too obscene’ while looking at an illustration of two masculine bodies making out. I have had white people tell me they want to support me but I am too ‘against white people/heterosexual people’. I have had older male creatives tell me that my art doesn’t speak to the black experience and that I should start producing content that speaks to black people, ‘like taxi ranks, slum areas, men at work, women with their breasts out in traditional attire, you know? Black people things’. It’s wrong on so many levels, I don’t even know where to begin. The policing of queer African and African creative’s content is literal discrimination (literal homophobia and racism). We need to stop being targeted to ‘water down’ or change our content so that it makes those who aim to erase us feel more comfortable and represented and helps them to remain on their pedestals. The same goes for the attitude towards womxn creatives. Our experience, regardless of the route it takes in our art, whether it’s black queer orientated or black womxn orientated, etc, will always be the black experience. Why? Because we are black and experiencing experiences. It’s that simple.

Tell us more about your work as a DJ and the types of music you like to play.

My existence as a DJ (DJ Qing) has been a short one and I really hope it develops into a path I can explore alongside my Illustrator existence. Being multi-dimensional is the ideal form I would like for myself as a creative. It’s mostly centred around hip-hop and rap (old and new). I love watching my queers dance and have fun dancing and a dancefloor full of POC queer bodies in motion is one from the Gods, so I aim to play music that allows that to happen.

What are you working on right now?

I have merch underway and I’m currently working on a mural at Neighbourgoods Market in collaboration with Sunday Edition ZA @sundayeditionza.

Where can people buy your work?

I have taken the firm decision to no longer sell prints and I work on a commission basis. All posted work is solely used to build my portfolio. If prints are sold, there will only be a limited supply and no prints will be redistributed. However, if anyone would like to get hold of me or access my content – follow me on Instagram @khanyathedesigner or email me at Message me with any queries and we can make magic!

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