Ndako Nghipandulwa debuts at Miami Art Week

Ndako Nghipandulwa is a Namibian visual artist who uses various media, most notably string and nails, to bring vivid imagery to life.

Last week, he exhibited during Miami Art Week’s 10th annual Afrikin Art Fair which saw art lovers from around the world gathering to celebrate emerging and established artists. It was curated by American social entrepreneur Alfonso Brooks.

Miami Art Week is made up of a cluster of gatherings that have emerged around the famed Art Basel Miami Beach. The various events featured a plethora of other means of expression, including sculptures, textiles and abstract surrealism.

Nghipandulwa’s piece, titled ‘Threads of Life’, depicts a young black boy in a wash basin, wearing a pendant around his neck and peering up at the spectator. He is surrounded by disembodied hands reaching out to grasp him. Upon first glance it is uncertain what the intentions of these unknown people are, but the image of the boy is calming, his expression trusting and his innocence inviting.

The 36-year-old says the 180 x 135 cm portrait, listed at US$11 000 (N$196 000), was inspired by the theme of the exhibition, ‘Threads of Life in Fragments of Time’.

“It reflects the universal interconnectedness that defines human existence and emphasises the role of individuals within this intricate web,” he says, adding that the setting of this artwork serves as a reminder of humble beginnings and the continuity of life.

“The hands surrounding the baby represent ancestors, community, and those who came before us, highlighting the enduring impact of collective histories on the present. These hands are connected by threads, symbolising the invisible bonds that tie generations together. The baby, holding the end of the thread, represents the present moment and the responsibility of forging new paths.”

The addition of the quartz stone hung around the baby boy’s neck is a symbol of endurance, the threads represent our connectedness to the past, future and broader narrative as human beings, while inviting viewers to reflect on their role as both recipient and creators of life.

Two other portraits are titled ‘Left Out’ and ‘Fragile’.

Nghipandulwa was granted the opportunity to exhibit abroad through an encounter with the organiser of the art fair. The Afrikin Art Fair took place from 1 to 8 December, with 72 African visual storytellers.

For him, it was an unbelievable experience.

“At the same time, it felt deserved, like everything I had been doing before led me to that moment,” he says, adding that he spent most of his time in Miami attending various art shows and talks, as well as connecting with artists, gallery representatives and the general public.

“I learned about ways to preserve my work as well as to improve it. I also learned about opportunities that are in the art world,” he says of his trip.

String and nails are a unique method, but it still allows intricate details to be portrayed. Nghipandulwa says when he first started, he tried different methods but this particular art form stood out to him most.

“I had learned it in primary school art class, but an extremely basic version of it. I was also working in the construction industry at the time, and these materials were available to me because it’s what we used in some of our projects,” he says.

He uses this method to draw faces, animals or landscapes. He also uses oil on canvas, showing off his compression of artistic principles.

He says he is still experimenting and figuring himself out as an artist, even after eight years.

“My entire life experience shapes my work. Where I’m from, my upbringing, what I’ve learned and unlearned, my experiences, the experiences of others, and what I’ve seen and felt,” he says.

This resonates with his current body of work which he says is shaped by the work he is doing with ‘Project Babylon’, an initiative to paint homes in the informal settlement of Okahandja Park.

“Through this project I have been learning about the way of life of the people living in this area, which is one of the most impoverished locations in Windhoek,” he says.

“When creating, I don’t think about how it will resonate with an audience, I only do what resonates with me. The audience will take it how they take it. Luckily, in this case it was an overwhelmingly positive response.”

But this has not been without its fair share of challenges. He says a lack of information and experience regarding the art world has held him back.

“I was working as a contractor and never thought I would be a full time artist. It was only a hobby, therefore, I did not know much. However, the opportunities are there,” he says, and explains how he tries to overcome these hurdles by continuously co nnecting with other artists, gallerists and curators.

He also does his best to attend art fairs and events to see what artists are doing internationally.

In the future, he wants to continue improving his craft. He would also like to complete his community projects and take part in more international exhibitions in the coming year. By 2026, he hopes to put on his second solo show.

“I have an upcoming collaboration with a seasoned and experienced artist that I met in Miami, and we hope to exhibit this work in Europe. I don’t want to say too much about that right now as we are still in the planning stage,” he says.

Nghipandulwa shares some advice to other budding artists:

“Put in the work, do research and continually try to improve your craft. If your work is good, and you put it out there, you will have a better chance to be seen and recognised. Also, look out for opportunities with local and international galleries; there are many open calls for residencies and grants from around the world that one can apply for.”

• Anne Hambuda is a poet, writer, and social commentator. Follow her online or email her at annehambuda@gmail.com for more.