Sungi MLENGEYA presents Tides of Being, a captivating new chapter
Sungi Mlengeya has mastered the art of meaningful blank spaces. Known for her large-scale black-and-white canvases, where white becomes an active presence rather than an absence, she is now refining her technique subtly embracing new shades of the black skin in her practice, while including the depiction of water. Tides of Being (Afriart Gallery), her latest exhibition, delves into womanhood and the transformative power of water, a natural mirror that reflects identity, movement, and change.
Sungi Mlengeya, Portrait 1, © Sungi Mlengeya
In this exclusive interview with Mayì Arts, Sungi Mlengeya shares the inspirations behind Tides of Being, her latest exhibition opening in New York on April 10th. As she explores new techniques and embraces greater confidence in her artistic expression, Mlengeya delves into the joyful dance of life that her art so effortlessly exudes.
Ngalula MAFWATA : Many emotions captivate the public when looking at your art from serenity and joy, in your words, how would you describe its essence?
Sungi MLENGEYA : I’m open to my work resonating with people in varied ways; it does so for me as well, at different times. Most of the time, I’m in awe when I look at the paintings away from the studio—especially if time has passed since their creation. Although the black and white composition can be bold to the eye, there’s a softness in the brushstrokes of the figures. From a distance, a painter might feel the urge to add something, but as I get closer, it seems like nothing needs changing. With some paintings, I feel pulled into the world of the figures. Some are mysterious and invite questions. Even though I know the models and my process, they still carry an air of mystery. You can’t define them in one sentence, so you can’t stop looking. Others are immersed in their own worlds—eyes closed or gazing into the unknown—and I find myself losing myself with them. They are peaceful and serene. For some, it is more nuanced.
Ripple, 2024, acrylic on canvas, 140 × 200 cm, © Sungi Mlengeya, Courtesy of Afriart Gallery
Ngalula MAFWATA : Movement occupies a central role in your most recent works. Rather than focusing solely on the characters themselves, the bodies you depict convey life in a poetic way, almost like a choreographed dance. What are the key inspirations behind this expressive style?
Sungi MLENGEYA : Technically, the figures on my canvas have slowly evolved as my confidence in my skill has grown. This has given me the freedom to explore the human form further and to articulate ideas and emotions through bodies. Dance, a personal source of joy, has become a common theme in my work. A moment in dance can be blissful and freeing—one can lose themselves and simply be. But it can also be a moment of full autonomy; a dancer decides what happens with their body while also letting go. It’s a poetic dynamic.
Ngalula MAFWATA : The sharp contrast of dark tones and white - which becomes an additional body - is a defining feature of your work. How do you approach this relationship in your art, is it the metaphor for more?
Sungi MLENGEYA : The black and white style began by happenstance early in my painting journey. I was trying to create a striking background for a portrait I was working on, but after struggling to find the right one, I decided to focus on the portrait first and figure out the background later. Once I finished, I loved the painting just as it was—I had found my perfect background by leaving it untouched. It wasn’t difficult for me to leave the painting that way and continue down that path because I’ve always been drawn to the untouched nature of things: empty spaces, vast landscapes, open seas, plain concrete surfaces, blank paper before any mark is made, or moments before a commitment—when any direction is still possible. The spaces in my paintings have become fulfilling in that way. They hold room for infinite possibility.
In the Depths, 2024, Acrylics on Canvas, © Sungi Mlengeya, Courtesy of Afriart Gallery.jpg
Ngalula MAFWATA : Women are at the core of your practice. Can you share more about your muses and their identity, how they inspire you?
Sungi MLENGEYA : I am compelled to paint women because I am one and because I’m surrounded by some great ones. Almost instinctively, I feel drawn to commemorate my existence and the existence of the important women in my life—those who have brought me great joy and comfort and have played a significant role in my story. The women in my paintings—whether friends, family, or acquaintances—represent these people and moments, either realistically or symbolically.
Ngalula MAFWATA : We have witnessed these women through different lenses: from authentic bonds and nurturing in the past to pure expression and freedom through the body. How have these shifting perspectives evolved for you?
Sungi MLENGEYA : My approach to creating keeps evolving, but after exploring technique, I have honed in on emotions and what feels meaningful to me. After working on portraits, I was eager to introduce fuller figures or multiple figures on my canvas. This led me to explore themes of togetherness. Then, I wanted more striking figures—larger ones. With the same canvas size, I could only fit fewer or even a single figure. This allowed for more focus at a time when I was incorporating other ideas and themes with the bodies. Freer, more expressive bodies emerged as I began exploring dance as a theme. There’s something about movement that embodies a full existence. A dancer takes up space, commands their body, and moves effortlessly, fully present in the moment—unconcerned with the next step or the gaze of onlookers. I wanted to celebrate this kind of existence—one of autonomy, freedom, and sometimes carefreeness—because it resonated with me.
“Stepping into the sea, a lake, or even a still river, we become weightless, in a space where movement feels effortless. ”
Ngalula MAFWATA : In the works exhibited in Tides of Being, we notice more intricate details in the facial expressions, skin textures, and overall composition. It feels like a new chapter in your practice. Can you describe your process in creating this series?
Sungi MLENGEYA : This has been an early exploration of incorporating the essence of water with the body. Photographs of the women were taken both in and out of water, and I experimented with the imagery to introduce elements of water where there were none or to emphasize them where they already existed. Water can influence the body in so many ways, offering endless directions to explore and plenty of room to experiment. Painting water—or capturing what feels like it—is still new to me, so I had to figure things out as I went. As a result, the process for each painting was slightly different, but the goal remained the same: I wanted the essence of water to come through and evoke the feelings it gives me.
Afloat, 2024, Acrylic on Canvas, 200x150cm, © Sungi Mlengeya, Courtesy of Afriart Gallery
Ngalula MAFWATA : For years, the whiteness in your canvas has sparked curiosity, and now it’s attributed to water. What is your connection to this element, and how does its presence in Tides of Being enhance the narrative of the figures, their transformation, and the bond between movement, identity, and the natural world?
Sungi MLENGEYA : The white space on my canvas has always left room for the viewer to interpret it in their own way. Tides of Being is inspired by my awe of water; its beauty, its ability to encourage surrender and introspection and the feeling of renewal one gets from it.
Water transforms the body in ways both seen and unseen. In these paintings, the figures are in a state of reflection and transformation. The bodies are in contemplation, meditation, and renewal. The bodies are painted, softened, stretched, and bent in ways not possible on land, in ways both strange and beautiful. Water invites surrender—an acceptance of constant change—something that I have long embraced with my plain backgrounds. In it, the body feels both familiar and unfamiliar—floating, dissolving, becoming something new with each moment. The surface of the water is also a changing mirror, constantly breaking and piecing back the shimmering forms. Some of the figures move with quiet tension, others with ease, continuing the theme of dance that I have not completely left behind. Stepping into the sea, a lake, or even a still river, we become weightless, in a space where movement feels effortless. The paintings in Tides of Being are the result of my search for ways to translate the emotions of water into my work, weaving them together with other ideas, people, and feelings that resonate with me in a way that is both meaningful and beautiful.
Shimmers, 2025, Acrylic on Canvas, 150x140cm, ©Sungi Mlengeya, Courtesy of Afriart Gallery
Ngalula MAFWATA : As you continue to explore the singularity of body and movement, what do you hope viewers will take away from Tides of Being?
Sungi MLENGEYA : Anything they want. But I hope they lose themselves with these figures.
Tides of Being will be presented by Afriart Gallery from April 10th from 6 - 9 PM at 311 East Broadway, NYC (NADA Exhibition Space. Find out more information on www.sungimlengeya.com and Afriart Gallery
