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Biophilia: Nature immersion and the city

By Jason F McLennan

In part one of a series about biophilia and its relationship to the built environment, Canadian architect and founder of the Living Building Challenge, Jason F McLennan, shares some insights around the central concept and specifically how it to relates to city planning and urban environments.

Canadian architect and founder of Living Building Challenge
Jason F McLennan

E O Wilson described biophilia in his 1984 book by that name as “the innate tendency to focus on life and life-like processes.” 

I first wrote about the importance of biophilia in 2004 in my first book, The Philosophy of Sustainable Design. I included biophilia as a guiding principle in version 2.0 of the Living Building Challenge (LBC) that came out in 2009; making LBC the first green building programme in the world to focus on the subject. Since then, I have watched the field of biophilic design evolve, gaining shape, definition, and serious consideration on projects all over the globe. 

However, as easily happens, a checklist mentality around biophilic design has emerged within the design industry, while simultaneously nearly anything and everything is being described as ‘biophilic’ in order to satisfy this newfound interest. As has happened in other areas of green building, the essence and scientific basis of biophilia is being lost in point tallying – right now, a design need only include superficial applications and check the right boxes to call itself biophilic.

It is my hope that clearly naming what is essential to biophilia, will engender a more nuanced understanding and ultimately, a more successful application of biophilic patterns and attributes to design.

Frameworks and checklists will always benefit designers, but it’s time to dig in deeper to what we mean when we talk about biophilia and biophilic design. We need to focus on design strategies that actually have positive impacts and do more than merely justify a design through yet another trendy lens. 

Science is only recently corroborating the long-standing, instinctual wisdom we’ve carried as humans for millennia – that we thrive in close connection to nature. I believe nature immersion is the single most important element of biophilia; if we only allow ourselves adequate time in nature, we can reap bountiful biophilia-associated wellness benefits.

Inside out

Estimates place 70 percent of the world’s populations in urban environments by 2050. With this migration, our connection to nature has dwindled and our feelings of isolation, loneliness and depression have filled the vacancy. Harvard School of Public Health Professor John Spangler puts a number to Americans’ disconnection from nature, and it’s shocking: we now spend 95 percent of our time indoors.

At the same time, a growing body of evidence suggests that if we reconnect to nature, we will become whole again.

Therefore, a key principle to establish under the framework of nature immersion is that any design that can get people outside, for as long as possible – using porches, covered walkways, courtyards, balconies, etc. – will always greatly outdistance anything that can be done inside a building. These types of design features prolong our exposure to nature, drawing down that 95 percent. The task isn’t the architect’s alone, but also the landscape architect’s, the urban planner’s, and that of each individual that occupies a building.

Immersive experience

Given so much of us live in, or are moving to, urban environments, we must, at a city planning scale, do the work of the biophilic designer to draw people outside through design. What do our cities look like? City parks provide immense opportunities for immersive experiences to urban dwellers and we should urgently create more, even on a small, pocket park scale. How many parks do we have now and how equitably are they dispersed? One recent, powerful study showed significant decreases in self-reported feelings of depression in test groups tasked with restoring vacant lots in economically-depressed urban areas.

Green Point Park, Cape Town

This study illuminates the social justice aspect inherent in any discussion about urban planning and access to nature: “neighbourhood physical conditions, including vacant or dilapidated spaces, trash, and lack of quality infrastructures such as sidewalks and parks, are associated with depression and are factors that may explain the persistent prevalence of mental illness in resource-limited communities.”

As the populations of our cities grow, it is important that the number of public places for city-dwellers to be in nature, keep pace. It is my belief that everyone should have walking distance access to a beautiful public park.

Native ecology

Also, as the world’s population continues to move into towns and mid-size cities grow into large cities; cities should strategically plan for and conserve sizable tracts of land as highly accessible urban wildlands. Stanley Park in Vancouver, Forest Park in Portland, and Central Park in New York City provide crucial, substantive outlets for high-quality nature immersion for their urban areas and highlight what’s possible when the conditions for wildness are fostered rather than subdued by design within city limits. These conserved parks connect people with place in a powerful way, often providing them with an experience of what their place once looked like while simultaneously creating opportunities for the native ecology of that place to thrive. Living in close proximity to this kind of life has amazing potential to foster the stewardship mentality crucial to the conservation of our wild places.

Creating connections

What further opportunities can we identify to foster nature connections in cities? Do trails winding through untamed places connect us to the modern and convenient amenities that spurred our move, as a species, to cities? If not, can they? What is the state of our urban canopy and how can we revitalise it, and reap the associated biophilic benefits, alongside all the others, that make trees so essential to city landscapes? What is our relationship to water in our cities? Can we utilise design to daylight streams and stormwater, creating visual and auditory onnections with our life-source at every opportunity? Are our cities walkable and bikeable, with amenities spaced for pedestrian and biker access? 

I believe one of the reasons Americans flocked to the suburbs in the post-World War II era was for these kinds of natural connections that had been choked out of industrialised cities. As our urban populations rise, it is critical that we invite nature back into city centres, creating nature-pedestrian connections that get us walking and interacting with our surrounding natural and human communities, immersing us more often and more completely within biophilic settings.

Africa Steps Into Carbon Market Delivery as CMAS 2026 Heads to Rwanda

As global carbon markets shift from rule‑setting to real transactions, with Article 6 mechanisms advancing and compliance‑driven demand such as CORSIA coming into sharper focus, attention is turning to where credible supply and policy certainty can be delivered at scale.

For Africa, this marks a transition from carbon market readiness to delivery.

Against this backdrop, the Carbon Markets Africa Summit (CMAS) 2026 will take place from 13–15 October 2026 in Kigali, Rwanda, bringing together policymakers, investors, buyers, project developers and market enablers at a pivotal moment for global carbon markets.

The Summit is delivered with the support of the Ministry of Environment of Rwanda, in partnership with the United Nations Development Programme (UNDP), the African Development Bank (AfDB), the Development Bank of Southern Africa (DBSA) and AUDA‑NEPAD, and with support from private sector partners such as SGS and Anthesis.

Rwanda has emerged as one of Africa’s most advanced carbon market jurisdictions, with active engagement under Article 6 of the Paris Agreement and a strong focus on mobilising climate finance.

“Rwanda has made a deliberate choice to position carbon markets as a tool for climate action, investment mobilisation and long-term development,” said Dr. Bernadette Arakwiye, Minister of Environment, Rwanda. “Hosting CMAS 2026 reflects our commitment to building credible and investable carbon projects that deliver real value for our economy, communities and climate goals.”

At a continental level, carbon markets are increasingly seen as a strategic financing mechanism for development.

“The Summit provides a timely platform for African countries to shape the future of carbon markets in line with the continent’s development priorities, and reflects the growing momentum to build credible, high-integrity markets that deliver real value”, said Olufunso Somorin, Regional Principal Officer, Climate Change and Green Growth Programme, African Development Bank. “The Bank remains committed to working with our countries and partners to strengthen the policy, regulatory, and institutional frameworks needed to scale carbon markets, attract investments, and ensure Africa is well-positioned in global carbon markets.”

As Africa transitions to a low‑carbon economy, the mobilisation of private capital is needed at scale to support climate mitigation activities and build climate‑resilient infrastructure,” said Kumesh Naidoo, Carbon Markets Lead at the Development Bank of Southern Africa (DBSA). “As a regional DFI, the DBSA recognises the importance of carbon markets as a climate finance tool and has intentionally stepped forward to support their development through carbon financial instruments, capacitation support and the building of a robust carbon project pipeline. Partnering with CMAS 2026 provides the DBSA with a platform to advance these objectives.”

CMAS 2026 is held under the theme: “Africa’s Carbon Markets on the Global Stage:Delivering a Strong Pipeline of Projects, Capital and Transactions at Scale”.

As scrutiny on carbon market integrity intensifies, Africa’s carbon assets are increasingly viewed as tools for financing development and strengthening economic sovereignty.

High‑quality carbon markets offer Africa a unique opportunity to translate its vast natural capital into tangible economic value – mobilising finance at scale while empowering countries to pursue development pathways that are both sustainable and sovereign,” said Maxwell Gomera, UNDP Resident Representative in South Africa and Director of the Africa Sustainable Finance Hub.

Designed as a market‑enabling platform, CMAS 2026 focuses on alignment between policy, capital and delivery.

We are deliberately shifting the focus from readiness to delivery,” said Emmanuelle Nicholls, Group Director: Green Economy at VUKA Group, the Summit organisers.
CMAS brings policy, capital and projects into the same space to support real transactions and long‑term market credibility.”

The programme includes Article 6 and CORSIA workshops, investor and buyer roundtables, curated project presentations, deal rooms and solution‑labs addressing key bottlenecks such as early‑stage finance, MRV capacity and authorisation in practice. Ministerial roundtable and targeted networking formats support coordination and commercial outcomes.

Morocco has it all: untapped mineral potential, a sound investment environment and first-class infrastructure

IMC 2026 returns for its third edition, hosted for the first time in the Kingdom’s capital

IMC 2026, the third edition of the Morocco International Mining Congress & Exhibition, will take place from 6 to 8 October 2026 for the first time in Rabat, the capital and administrative centre of the Kingdom of Morocco. Convening under the theme “Towards a New Industrial Era – Africa as an Integrated Hub for Strategic Minerals Transformation,” IMC 2026 will once again be organised by the Federation of Mineral Industry of Morocco (FDIM) and AME Trade Ltd, with support at the highest levels from the Ministry of Energy Transition & Sustainable Development, the Ministry of Industry and Commerce, and AMDIE.

Morocco has risen to 15th place globally in the latest Investment Attractiveness Index for the mining sector, according to the Fraser Institute’s 2025 Annual Survey of Mining Companies. The North African kingdom’s ascent marks a significant milestone in its strategy to diversify its economy and position itself as a critical hub for global mineral supply chains.


Morocco has a range of assets — not only in resources and reserves, but also in regulation, institutions and sustainability — enabling it to produce electro-molecules, minerals, metals, and competitive low-carbon and zero-carbon products. The Kingdom also enjoys an exceptional geographical position between Africa, Europe, the Atlantic Basin and the rest of the world, serving as a meeting point for the major geopolitical blocs that today influence key technological, environmental and societal choices. Reflecting Morocco’s ambition to position itself as a regional mining powerhouse, the Government has released a public tender for the exploration of precious and strategic minerals across the Kingdom’s eastern provinces, covering approximately 13,000 square kilometres in the Tafilalet and Figuig mining basin.

A HISTORIC MOMENT FOR AFRICAN MINING


IMC 2025 was a historic event for the future of the African mining sector, where the Marrakech Declaration was adopted. The declaration commits the sector to robust environmental safeguards, social responsibility and improved governance standards — principles designed to attract global capital increasingly focused on ESG compliant “green mining.”


“This declaration is not Moroccan. It is African. And I know that each of us will remember this moment in Marrakech, wherever we may find ourselves in one year, in five years, or in ten. It belongs to every African nation and marks Africa’s entry into a new era — one in which we define our own rules and determine the value of our own resources.” — Hon. Leila Benali, Minister of Energy Transition and Sustainable Development, Morocco, speaking at the Opening Ceremony.

IMC 2026 will build on the success of the 2025 edition, which featured over 650 delegates from more than 40 countries, including high-level delegations from Africa’s major mining-producing nations. More than 100 exhibitors joined the IMC Trade Exhibition, spanning the full spectrum of the mining supply chain. Lead sponsors of the event included mining powerhouses such as OCP, Managem, Aya Gold & Silver, CMT and Morocco Strategic Minerals.


A DIVERSE MINERAL OFFERING


Morocco maintains regular production of varied mineral substances, including phosphates, lead, zinc, copper,gold, silver, cobalt, manganese, fluorine and barite. The Kingdom holds around three quarters of the planet’s known phosphate reserves and is the world’s top exporter of crude phosphates. Ambitious plans to double 2020 revenue from non-phosphate mining to more than US$1.7 billion by 2030 are coming to fruition, coupled with a green strategy for responsible and sustainable mining aligned with the European Union.


Morocco also has a long-term vision to supply emerging gigafactories in Kenitra and Tangier with domestically sourced critical minerals, integrating mining with downstream battery and clean-energy manufacturing and thereby strengthening the Kingdom’s leverage in global supply chains. As the world’s ninth largest cobalt producer, with output of around 2,000 tonnes a year, Morocco aims to harness its cobalt reserves as part of the supply chain for rechargeable batteries. The country has also launched a national digital mining registry, a reform aimed at streamlining licensing procedures and reducing bureaucratic obstacles — making the sector more attractive to major international investors wary of regulatory risk.


MOROCCO AT A GLANCE


Global ranking 15th worldwide in the Fraser Institute 2025 Investment Attractiveness Index for mining
New exploration Public tender covering ~13,000 km² across the Tafilalet and Figuig mining basin
Phosphate reserves Around three quarters of the planet’s known reserves; world’s top exporter of crude phosphates
Cobalt production ~2,000 tonnes per year – the world’s ninth largest producer
2030 ambition Doubling 2020 non-phosphate mining revenue to more than US$1.7 billion

Open Studios Fish Hoek & Clovelly returns this October with its biggest line-up yet!

Cape Town’s Deep South opens its doors as Open Studios Fish Hoek & Clovelly (OSFHC) returns for its 2026 edition from Friday, 9 October to Sunday, 11 October.

The self-guided art trail invites the public into the studios of over 30 artists at 20 locations across Fish Hoek and Clovelly, offering a rare behind-the-scenes look at how local art is made, from painting and printmaking to ceramics, sculpture and mixed media.

Since its inaugural edition last year, the event has grown from 19 featured artists to more than 30 this year, including two new shared studio hubs, Mothership Studios and Fish Hoek Studios, each housing a cluster of artists working across painting, sculpture, illustration and mixed media. Despite the leap in scale, every participating artist is put forward by a dedicated selection committee, keeping the same curatorial standard that defines Open Studios Fish Hoek & Clovelly (OSFHC).

Newcomers to this year’s trail include bronze sculptor Chris Bladen, whose finely detailed sculptures of fish and birds draw on his own fly-fishing and birdwatching; oil painter Mandy Lake, whose ocean-inspired abstractions have been shown in galleries from George to Ballito; and photographer Angela Buckland, with work exhibited at the Iziko National Gallery and Durban Art Gallery, and published across three books. They’re joined by illustrator Nicolene Louw, with pen-and-ink work shown as far afield as Switzerland and Portugal, and multidisciplinary artist Jasper Wolfeman, with paintings and sculptural floral arrangements shown across Cape Town, Barcelona and the USA.

A ticketed preview event will take place on Friday, 9 October, giving collectors and art lovers the opportunity to explore the studios ahead of the free public days. Proceeds from the preview will support Project Flamingo, which provides timeous, compassionate and holistic care to breast cancer patients within the public health care system. Tickets for the preview are R150 per person and are on sale via Quicket.

The opening function will take place at iconic department store AP Jones on Fish Hoek Main Road (M4) at 09h30 on the Friday, and guests will be treated to a bespoke installation and live performance. They will also receive a complimentary coffee voucher from Peak Café, also on the Main Road in Fish Hoek, a glass of wine from Lubanzi Wines, which will be served at the artists’ studios, and a wearable badge from Project Flamingo.

Once the preview day is over, studios will open free of charge to the public on Saturday and Sunday from 10h00 to 16h00, giving visitors the same opportunity to acquire original artworks directly from the artists.

Besides all the inspiring artworks on show, there is lots to see and do, including interactive and engaging activities. At Peak Café, anyone can create their own mini artwork on a Post-it note and add it to a live, growing exhibition of art for all and by all. Post-it notes and drawing materials are kindly supplied by The Write Shoppe.

OSFHC artists have been challenged to compete against one another to create an exciting eco-friendly wine container. These will be on show at the studio stops and members of the public can vote for their favourite Lubanzi Eco Wine Bucket Challenge creation. Prizes are up for grabs for both the public and the winning concept.

To make navigating the event easier, a full map with the route guide, studio locations and points of interest, as well as artist profiles and other information, is available at openstudios.org.za. Regular updates will be shared on Instagram (https://www.instagram.com/openstudiosfishhoekclovelly/) in the lead-up to the event.

OSFHC 2026 is proudly supported by Property Peninsula, AP Jones, Peak Café, Zip Print, Novus, Lubanzi Wines and The Write Shoppe.

All the details you need :
Location:
Fish Hoek & Clovelly, Cape Town

Open studios: FREE public entry from Saturday 10 October to Sunday 11 October, from 10h00 to 16h00.

Collectors and enthusiasts preview: Friday 9 October 2026. The opening event starts at 09h30 at AP Jones, and studios stay open until 16h00. Tickets are R150 in aid of charity and available at Quicket.

Website: www.openstudios.org.za

Instagram: @openstudiosfishhoekclovelly

WILDERNESS IMPACT CHALLENGE ANNOUNCES THREE FINALISTS BUILDING AFRICA’S CONSERVATION ECONOMY

Three innovative organisations from Botswana, Tanzania and Zimbabwe have been named finalists in the Wilderness Impact Challenge 2026, following a highly competitive search for practical solutions that strengthen Africa’s conservation economy.

Now in its second year, the Wilderness Impact Challenge is a pioneering initiative that seeks out scalable solutions capable of creating better outcomes for people, wildlife, and the systems that connect them. Guided by Wilderness’ Empower Impact pillar, this year’s Challenge called on innovators, entrepreneurs, engineers, conservationists and community leaders to submit ideas that make conservation economically viable, locally led, and resilient for the communities living alongside Africa’s wild places.

More than 80 applications were received from across the globe, showcasing a variety of ideas rooted in local innovation, enterprise, and ownership, with the ultimate aim to strengthen conservation while uplifting communities.

‘The calibre of entries this year was truly exceptional,’ said Charles Douglas, Chairman of the Wilderness Trust. ‘We were encouraged not only by the creativity and quality of the ideas submitted, but by the commitment to building conservation economies that deliver lasting value for both people and nature. Selecting just three finalists was no easy task for the judges.’

The three finalists each demonstrate a distinct approach to strengthening conservation through enterprise, creating economic incentives that support healthy ecosystems while improving local livelihoods.

Ele-Collection, based in Victoria Falls, Zimbabwe, tackles two challenges simultaneously: plastic pollution and unemployment. The organisation employs women-led teams to recover plastic from conservation-sensitive landscapes before transforming it into eco-aggregate for the construction industry. Every kilogram collected creates income, removes waste from wild spaces, and strengthens a local, circular conservation economy.

In Botswana’s Okavango Delta, CLAWS (Communities Living Among Wildlife Sustainably) is partnering with local cattle farmers to improve traditional herding practices and establish Africa’s first Certified Wildlife Friendly™ beef supply chain. The initiative reduces human-lion conflict while rewarding farmers with premium market access. The result is healthier rangelands, stronger rural livelihoods, and a model where protecting wildlife becomes the better economic choice.

Working in Tanzania’s Serengeti ecosystem, Wild Survivors is turning human-elephant conflict into opportunity through women-led enterprise hubs built around coexistence. Combining beekeeping, regenerative agriculture and locally produced honey and organic products, the initiative supplies nearby tourism operators while creating sustainable livelihoods. By connecting communities directly to conservation-friendly markets, the model transforms wildlife protection into a lasting economic opportunity owned by local people.

‘What stood out about these finalists is that, although they address different conservation challenges, they all arrive at the same conclusion: conservation efforts can be enhanced where they create meaningful economic opportunity in surrounding communities,’ added Charles. ‘Each of these initiatives demonstrates that thriving communities and thriving wildlife don’t have to be competing goals, but can be mutually reinforcing ones. They are building practical, scalable solutions that strengthen conservation by making it thoughtfully valuable to the people living closest to it.’

The finalists now progress to the final stage of judging, with the winning initiative to be announced at the end of August 2026. The successful project will receive financial support valued at USD100,000, as well as strategic guidance from the Wilderness Trust – helping accelerate its impact and further increase its contribution to Africa’s growing conservation economy.

The inaugural Wilderness Impact Challenge, held in 2025, recognised Wild Entrust Africa’s BioBoundary Project, a non-lethal, scent-based predator deterrent system that helps farmers protect livestock while promoting coexistence with hyenas, leopards and other carnivores. By supporting pioneering ideas with real-world application, the Challenge continues to identify and accelerate solutions that strengthen conservation where it matters most: in the landscapes and communities that depend on it.

To find out more about the Wilderness Impact Challenge, click here. For images of the finalists, please click here.

Orchard + Blooms: A colour world rooted in abundance, growth and everyday joy

Lush, generous and full of life, Orchard + Blooms is a colour world inspired by the sensory richness of fruit markets, garden centres and flourishing outdoor spaces. It celebrates abundance in all its forms like ripened produce, layered foliage and sun-warmed petals. It’s the palette that brings vitality indoors through expressive, organic colour.

One of four colour worlds within the Plascon Colour Forecast 2026, Orchard + Blooms sits alongside Butter + Sky, Land + Sea, and Fashion + Candy. Together, the worlds form part of the overarching theme ‘HAND, made’, which foregrounds the human touch, natural cycles and the textures of daily life as key design influences for the year.

Orchard + Blooms is the most overtly organic of the four worlds. It draws from the colours we associate with nourishment and growth: peach and orange blossoms, olive-green leaves, deep terracottas and the rich tones of fruit at peak ripeness. The result is a palette that feels grounded yet joyful.

This speaks to a broader shift in how we want our homes to feel in 2026. As life becomes increasingly fast-paced and digitally mediated, there is a growing desire to reconnect with the rhythms of nature and the comfort of familiar, sensory experiences. Orchard + Blooms responds to this by offering colours that feel instinctive and nourishing.

The curated colours within the Orchard + Blooms world include Chocolate Delight (R6-E1-1), Hudson (26), Spanish Brocade (O2-B1-3), Swazi (R2-C1-1), Wanda (Y4-C1-1), Good Day Sunshine (O6-A1-1) and Just Terracotta (R7-C1-1). Together, they create a layered story of warmth, richness and renewal.

These colours encourage a sense of generosity and ease, echoing the feeling of gathering, sharing and living well. Used tonally, they create grounded, enveloping environments. Paired with lighter accents, they bring a fresh, uplifting quality that feels distinctly contemporary. Orchard + Blooms lends itself to interiors where energy and connection are key, such as kitchens, dining rooms, living areas and creative spaces.

The colours are expressive without being overwhelming, earthy without feeling rustic, and vibrant without tipping into excess. They encourage layering, whether colour with colour or texture with texture, and invite homeowners to trust their intuition when building a palette that feels personal.

Like all four colour worlds in the Plascon Colour Forecast 2026, the shades in Orchard + Blooms are drawn from Plascon’s existing colour library and can be tinted in your choice of Plascon coating at leading retailers nationwide.

Visit www.plasconcolour.co.za for more.

Delete Nton’ntoni: Four artists propose a radical reset for contemporary art in Cape Town

A new group exhibition at Cape Town’s HUB Gallery challenges the culture of artistic individualism and asks what becomes possible when artists create in dialogue, rather than in isolation.

HUB Gallery is pleased to present Delete Nton’ntoni, a new group exhibition by four contemporary artists, Tafadzwa Tega, Lwando Dlamini, Knowledge Marongedza and Luyanda Mkhuthungu and curated by Tafadzwa Tega, taking place from 6 August to 26 October. Delete Nton’ntoni is a deliberate interruption of the creative isolation that has increasingly characterised Cape Town’s contemporary art scene.

The exhibition takes its name from two distinct sources. Nton’ntoni is an isiXhosa term meaning ‘and so forth’ or ‘something like that’, a phrase that speaks to habitual repetition, to the default mode of doing things without questioning. The second reference is the digital command Ctrl+Z, which serves as a symbol for deleting, rethinking and reimagining the systems and habits that no longer serve.

Together, the title frames the exhibition’s central proposition: that the growing culture of individualism among Black African artists in Cape Town, while powerful in its own right, has also produced creative silos. Delete Nton’ntoni proposes a reset. A return to dialogue, shared presence, and collective creative practice that claps back against the treatment of collaboration as compromise.

The exhibition brings together four artists working across painting and mixed media, each maintaining a distinctive voice and practice. Their themes, which span interpersonal relationships, care and emotional intimacy, joy as resistance, migration and displacement, and the navigation of identity across cultures and geographies, intersect organically, resulting in a body of work that speaks in concert rather than in parallel. The exhibition has been curated by Tega, to emphasise visual and thematic connections between works, so visitors encounter not four separate bodies of work, but a living conversation.

In a time marked by fragmentation (socially, politically and creatively), the act of coming together is both urgent and transformative. Delete Nton’ntoni opens at HUB Gallery on 6 August 2026. It is an invitation to press Ctrl+Z on isolation and to discover what a more collaborative and generous contemporary art culture might look like.

Meet the collective
Tafadzwa Tega (b. 1985, Harare, Zimbabwe) works in oil on canvas, rendering figurative scenes drawn from photographs to explore Zimbabwean resilience and the experience of forced migration.

Lwando Dlamini (b. 1992, Eastern Cape, South Africa) employs the impasto technique to create highly textured, expressive paintings that explore the fragility of the black body.

Knowledge Marongedza (b. 1989, Mt. Darwin, Zimbabwe) works primarily in painting, using everyday objects and domestic scenes as vessels for memory, identity, and cultural continuity.

Luyanda Mkhuthungu (b. 1991, Eastern Cape, South Africa) works in mixed-media portraiture, centring single motherhood as both personal tribute and social commentary.

Exhibition details

Exhibition: Delete Nton’ntoni

Dates: 6 August to 26 October 2026

Venue: HUB Gallery, 25 Commercial Street, Cape Town

For more information on HUB Gallery visit https://houseunionblock.co.za/.

Find the artists on social media: @tega.tafadzwa, @ldlamini_studios, Knowledge Marongedza, and @luyandaemel.