Notes

Alfred Thoba occupies a complex position in the South African art canon. A self-taught artist, Thoba’s only attempt at formal training was turned down by Bill Ainslie, who believed he had a natural gift. Thoba himself describes his ability as something he was born with, which allows his artwork to develop independently of art historical reference or influence.

Thoba’s paintings serve as vehicles for messages, personal, moral, and often visionary. These are frequently accompanied by handwritten letters to ensure the viewer understands the meaning behind the work.

His technique is distinctive: thick paint sculpted into relief, applied obsessively with various tools to create rich, textured surfaces. This physical, time-intensive process reflects the intensity of his engagement with his subject matter.

Despite decades of practice, Thoba remains on the outskirts of the mainstream art world. He is best known for his 1976 Riots painting, shown in Detention Without Trial (1988) and later sold at auction in 2012 after years of obscurity. His outsider status is partly the result of structural exclusions shaped by apartheid, which denied many Black artists access to training, networks, and recognition.

Thoba’s disregard for art history is not ignorance but resistance. His work challenges conventional categories and calls into question the frameworks by which South African art history has been written. To fully recognise Thoba’s contribution is to reckon with the limits of those frameworks.

Provenance

Warren Siebrits Fine Art, Johannesburg, 11 May 2008.

The Oliver Powell and Timely Investments Trust Collection.

Exhibited

Wits Art Museum, Johannesburg, Alfred Thoba: A Step Becomes a Statement, 13 March to 3 June 2018.