The

 
African Art Centre
        Focus on: William Zulu

William Zulu (1956)

Grass Cutters 47/55
Lino Print
Ndabenhle William was born on Nsengeni farm in the Vryheid district. He
29.5 x 42 cm
attended the Nsengeni Mission School until 1968 where after he transferred
R 542.00
to Emondlo Township and attended the Ikhethelihle Lower Primary School.  
It was here where he became interested in drawing.  He later attended 
Thabani Higher Primary School, but as a result of contracting Tuberculosis
he was forced to leave school.     

In 1974, William was diagnosed with a spinal problem which after a failed
operation at Baragwaneth Hospital left him paralyzed from the waist down
and confined to a wheelchair.  He spent two years (1974 -1976) at the
Charles Johnson Memorial Hospital situated in Nqutu where an Occupational
Therapist who was working with him discovered his talent for drawing and
encouraged the then 20 year old young man to enroll at the ELC Art and
Craft Centre at Rorke’s Drift.  In 1977, William entered the Art and Craft 
Centre, the home of some of South Africa’s most famous artists including
John Muafangejo, Azaria Mbatha, Bongi Dlomo and Pat Mautla.   It was here  Job Seekers 21/55
where William was introduced to the skills that led him to becoming a Lino Print
renowned linocut artist.   42 x 29.5 cm
R 417.00 
William remained at Rorke’s drift until the end of 1978 and attests to the
fact that it was here where he learnt to be independent and realized what
his artistic capabilities were.   In the years following his departure from 
Rorke’s Drift, the young artist remained at home, struggling to establish
himself as an artist and often feeling despondent and discouraged.   In 
1981, William made a decision to return to school and enrolled at the
Isolumuzi High School, where he completed Form 3.  In 1983, he transferred 
to Ikhethelo High School where he obtained his matric.   Although he grew 
up in a time when South Africa was being fraught by political unrest and
violence and when black people were being ruthlessly dominated, William
never stopped hoping and dreaming of a better future.  

In 1985, William was introduced to the faith of the Jehovah Witnesses and
says that “gradually his heart and mind were filled with a new faith that lit
the gloomy inner caverns were my fear-filled thoughts lurked” (Zulu, W., Claypot makers 20/55
Spring will Come. p 214).  William continues to stand firm on his faith and  Lino Print
frequently makes reference to his Christianity in his linocuts.  1986 saw the  42 x 29.5 cm
tide changing for William, his works started selling, he reconciled with his R 584.00 
parents and he was able to open his first bank account.  

An invitation to participate in his first international exhibition celebrating the

unification of East and West in Germany in 1991 was a significant turning
point for the artist.  Reflecting on his personal experiences in rural South 
Africa, the political situation, the devastating effects of apartheid and
scriptural messages, sales were good.    William continued to exhibit 
nationally and internationally and his work is represented in public and
private collection in South Africa, including the Durban Art Gallery, the
Constitutional Court of South Africa, the Johannesburg Art Gallery and
MOMA (Museum of Modern Art) New York, United States of America.  He 
held his first solo exhibition at the African Art Centre in 1996 and attests to
the impact that the late Jo Thorpe had on his career as an artist living in
Durban.  
Tilling the hard soil 52/55
Lino Print
In 2005, William Zulu’s biography, Spring Will Come, which he spent three 42 x 29.5 cm
years writing, was published by UKZN Press.  In July 2010 the Zulu  R 417.00 
translation, Liyoze Line Nangakithi, was printed.
   
Love and Care for HIV/AIDS Victims
The wedding cow 23/55 We can! 18/55 13/60
Lino Print Lino Print Lino Print
42 x 29.5 cm 42 x 29.5 cm 30 x 30 cm
R 542.00 R 542.00 R 667.00