Lesego Moncho: From Taung Roots to Artistic Visionary

As I stepped into LMB Arts and Design Gallery, located in Taung village in North West province, the ambiance spoke volumes of its nascent stage. Trestles and heaps of sand marked the entrance, indicating ongoing construction. Inside, the faint scent of fresh mortar mingled with the aroma of acrylic wall paint, signaling recent plastering efforts. Lesego Moncho, the visionary behind this establishment, exuded passion as he spoke about his vision.

Amidst the gallery's wings, remnants of his works from the Makhanda National Arts Festival awaited, still unwrapped from their sojourn in Eastern Cape for the 50th anniversary of the festival. Outside, a minimalist design adorned with mountain stones greeted visitors, while two paintings reminiscent of ancient rock art adorned the gallery yard alongside a solitary Savannah tree. Lesego guided me through the space, gesturing towards a corner earmarked for a future live concert stage.

A sculpture crafted from granite stone stood proudly outside, a testament to Moncho's dedication to blending natural elements with artistic expression. Inside, an unfinished cubic and abstract painting on an easel hinted at his latest creative endeavor, adding to the gallery's evolving narrative of artistic innovation and community engagement.

During my recent visit to Taung in North West, I had the privilege of meeting Lesego Moncho, a prominent abstract and cubic expressionist artist deeply rooted in his community. Mr. Moncho graciously guided me through the Mmabana Art Centre, a facility inaugurated in 1992 by former Bophuthatswana President Lucas Mangope, reflecting a time before South Africa's democracy, when such institutions were established in Bantustans. 

Lesego Moncho opening the gate of his art gallery in his village of Taung.

Despite its initial grandeur, the art centre now faces neglect from the Mmabana Sports  Arts and Culture Foundation,  an entity of provincial department of sports,  arts and culture, causing its deterioration. Nevertheless, Mr. Moncho has dedicated himself to uplifting the community through art. His LMB Arts & Interiors Gallery stands out as a beacon of hope and creativity, offering free training and mentorship to children and youth—an initiative almost unheard of in township settings. 

What struck me most was the rarity of such galleries outside major cities like Johannesburg and Cape Town. This pioneering effort embodies what decoloniality scholars might call the 'decolonisation of the visual arts business,' as it challenges the elitism often associated with urban art scenes. Similar endeavors, like the TX Theatre in Tembisa and Xclusive Theatre in Seshego, underscore the growing need for inclusive cultural spaces in our communities. 

Despite facing challenges—such as the recent delays in funding for his solo exhibition at the Albany Art Museum during the National Arts Festival in Makhanda—Mr. Moncho remains determined to integrate his gallery into mainstream art platforms. I look forward to seeing how he navigates opportunities like the FNB Joburg Art Fair, Cape Town Art Fair, and international events such as Dakar Art and 1:54, thereby bringing greater visibility to Taung's vibrant artistic community. 

Lesego Moncho's journey exemplifies the transformative power of art in grassroots settings, reminding us of its potential to bridge divides and foster cultural inclusivity across South Africa and beyond.

Painting Reminiscent of Ancient Rock Art.

Below is a conversation I had with Moncho which is part of this feature.

CHEPAPE MAKGATO:  What inspired you to create a space for local artists at LMB Arts & Interiors Gallery, and how have you approached preserving, documenting, and archiving their work?

 LESEGO MONCHO: The lack of cultural spaces in Taung motivated us to establish LMB Arts & Interiors Gallery as a platform for local artists. We are committed to preserving, documenting, and archiving their work to ensure it is recognized and valued. However, the community's response to this initiative is still evolving.

CM: Could you elaborate on how LMB Arts & Interiors Gallery has contributed to the Visual Arts programs at Thate Molatlhwa Secondary School since 2016?

LM: Since 2016, our gallery has dedicated resources and time to support the Visual Arts programs at Thate Molatlhwa Secondary School. We believe in nurturing young talents and providing them with opportunities to explore their creativity through art education.

CM: You mentioned the importance of liberating South African society through cultural appreciation. How does LMB Arts & Interiors Gallery address this need, particularly in preserving and promoting local culture and identity?

LM: The gallery serves as a beacon for cultural liberation by showcasing and celebrating local culture and identity. We believe that a nation that values its heritage thrives, and our gallery aims to remedy misconceptions and promote cultural pride within our community.

CM: How does LMB Arts & Interiors Gallery engage in hosting Cultural Exchange programs and documenting the works of cultural workers and activists?

 LM: We actively host Cultural Exchange programs to facilitate dialogue and collaboration between local and international artists. Additionally, we document and archive the works of cultural workers and activists to preserve their contributions to our cultural landscape.

CM: Could you explain how LMB Arts & Interiors Gallery sustains itself, given the lack of state support for infrastructural development?

 LM: The gallery relies on proceeds from art sales to fund its operations and infrastructure projects. Despite the challenges, we remain committed to providing a space that supports artistic expression and community engagement.

CM: In what ways does LMB Arts & Interiors Gallery contribute to healing a fragmented society through Therapeutic Art programs, Local Economic Development initiatives, and Heritage Preservation efforts?

 LM:Through Therapeutic Art programs, we use art as a tool for healing and personal growth. We also actively engage in Local Economic Development by promoting local artists and artisans. Furthermore, our efforts in Heritage Preservation aim to safeguard and celebrate our cultural heritage.

CM: What are your plans for establishing an Artistic Residency at LMB Arts & Interiors Gallery, and how do you envision it accommodating global arts practices?

 LM:We are exploring the establishment of an Artistic Residency to attract global artists and foster cultural exchange. This initiative aims to enrich our local arts scene and create opportunities for international collaboration and learning.

CM:You emphasize the importance of authentic, honest, and original art. How does LMB Arts & Interiors Gallery prioritize these values, and what role do they play in your gallery's success?

 LM: Authenticity and originality are at the core of our gallery's mission. We believe that by promoting genuine artistic expression, we not only support our artists but also attract a discerning audience who values artistic integrity.

CM:What personal sacrifices and dedication have you experienced in your journey with LMB Arts & Interiors Gallery, considering the challenges of sustaining an art initiative in today's environment?

 LM: Running LMB Arts & Interiors Gallery requires dedication and perseverance, as navigating funding challenges and promoting art in a society where it's not always prioritized can be demanding. However, our commitment to our community and artists drives us forward.

CM: How can individuals support LMB Arts & Interiors Gallery's mission? What role can visiting the gallery and encouraging young participants play in your projects?

 LM: Individuals can support us by visiting the gallery, participating in our projects, and spreading awareness about our initiatives. Engaging with our programs not only supports local artists but also fosters a deeper connection to our community's cultural heritage.

Here are few more additional questions to delve into Moncho's foundation years and background:

CM: Can you share with us where you were born and how your early life influenced your journey as an artist?

LM: Lesego was born here in Taung village, schooled and grew up in Taung.

CM: What sparked your interest in becoming an artist, and how did you initially pursue your artistic training and education?

LM: I am a self-taught visual artist, a passion I believe I inherited from my family. Two of my uncles were musicians, and my mother was a dedicated singer, mostly performing at church. My mother used to bring me sketchbooks, crayons, and pencils from Johannesburg where she worked, and I continued to buy them myself from CNA.

CM: Could you describe some of the challenges you faced during your formative years as an artist, and how did these experiences shape your artistic vision?

LM:  As a young child, I often received corporal punishment at school for drawing. Art was commonly perceived as something exclusive to white people, and there was a stigma suggesting that pursuing art meant avoiding traditional career paths. However, despite these challenges, my passion for art persisted.

CM: Who were some of your early influences or mentors in the art world, and how did they impact your development as an artist?

LM: My cousin used to do sign writing and watching him do it made me to believe that I will one day be an artist.

CM: What prompted your decision to establish LMB Arts & Interiors Gallery, and how do your personal experiences and background inform the mission and activities of the gallery today?

LM:  Initially, I sought a space to preserve my work for future generations. Additionally, I aim to archive and document the works of other local artists. My completion of the NQF 4&5 Arts Administration and Entrepreneurship in the Arts program at the University of the North West has equipped me to pursue my dream of establishing an art gallery.

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Khehla Chepape Makgato is an independent visual artist, freelance arts writer and curator. He is a Chief Curator at William Humphreys Art Gallery. He is a deputy chairperson of the South African Museums Association Central (Free State and Northern Cape). He serves on the panel of Acquisition Committee of ArtBank South Africa. He has a Master's Degree in Fine Art from University of Witwatersrand and is currently a PhD candidate in Art and Music at UNISA