In every artist lies a question born of curiosity and a desire to tame the unknown. The answer, facilitated by necessity, is shaped by the artist’s ambition. That being said, Stephen Langa’s ambition is without question, as evidenced by the success of Langa’s last body of work titled “Inceptions of Black Serenity” he was eager to return to DKW and continue exploring the endless possibilities of the monotype process. Langa’s 2025 year began in the same way as his 2024 year ended, with him working towards a new body of works in the workshop. Each image created explores a different aspect of the monotype spectrum–whether it be it perspective, colour combinations, or the qualitative expression of colouring outside the lines.
Image on Left: Langa begins with a sketch that is drawn underneath the perspex matrix, this enables him to see his reference while building layers on the plate with the help of a light box. He begins rolling different layers of flat colours as seen in the images above (brown, orange and yellow).
Image on right: Langa uses a painting brush to apply oil-based ink onto a section of the image that’s been cleaned with a piece of fabric to create the negative space needed to ensure that the colours don’t mix. The wood texture that surrounds the frame of the work is done using both a wood finish tool that when applied works reductively onto flat areas of colour, leaving behind a wood grain texture that Langa then later refines with a clean cloth.
Left: Langa Turning the wheel, Middle: ‘The Bird Visitor‘ 2025, Right: Printer Sbongiseni Khulu pulling print off the matrix after printing
Once Langa has completed working on the plate it is then carefully moved to press where it can be printed. A soaked piece of cotton-based paper is blotted dry and placed on top of the perspex and it is slowly run through the press. In the image on the right collaborating printer Sbongiseni Khulu can be seen lifting the paper to reveal the work.
Langa’s intimate imagery explores experiences and the environment around him. Harkening back to artists like George Pemba, Claude Monet, Gerard Sekoto, Jo Maseko and more, his work presents visions of new economic narratives and reality.
These monotypes capture Langa’s themes through warm, earthy tones, soft contrasts, and fluid forms. The delicate florals, quiet interiors, and seated figure evoke stillness and introspection. The use of light and shadow enhances a sense of solitude and presence, asserting calm as an inherent and self-possessed state. In a world seemingly obsessed with always having more, stillness can be seen as a luxury, a luxury that historically hasn’t always been associated with the subjects in Langa’s works; an oversight that Langa addresses throughout his artistic practice with eyes wide open.
