Viwe Mfaku reimagines Africa’s future through art, culture, and tech

Viwe Mfaku is a visionary, and one of the foremost voices shaping Africa’s narrative today.

Growing up in Butterworth, Eastern Cape, his Xhosa heritage deeply influenced his creative perspective.

He says his upbringing helps him visualise and see his Motherland.

“I was fortunate enough to have met my grandparents on my mother’s side, who lived deep in a remote village. Going home to eMacibe, a village just outside Butterworth, grounded me in ways I only fully realised in adulthood, ” says the young creative.

“My upbringing in the Eastern Cape instilled in me a strong sense of identity, culture, and heritage, all of which continue to influence my artistic expression,” he explains.

He is visual design graduate who has made his mark in advertising, and has worked with major brands both locally and internationally.

Now, as a multi-hyphenate artist, he seamlessly blends film, design, and fine art to craft a unique narrative that’s both bold and visionary.

But Mfaku’s work transcends personal artistic expression. Through his ISINTU movement, he weaves African culture into every aspect of life, from fashion to architecture.

He describes himself as more than an artist, but "a world-builder crafting a future where African culture thrives."

ISINTU began in 2022 with Season 1, which focused on digital prints and mixed media.

Mfaku recently launched, ISINTU: season 2, a collection of humanoid illustrations with an aim to reimagine a lost future.

These works are rich with warmth and emotion, conveyed through deep reds and pinks.

One standout piece, Ookhokho, portrays towering droid ancestors, symbolizing the legacies they’ve left behind.

Another, Qula Olympics, reinterprets the isiXhosa rite of passage, where boys engage in stick fighting.

“The piece highlights the importance of accumulated wisdom and knowledge. It’s about finding a balance between tradition and progress, emphasising that the future is shaped by the past, but not beholden to it,” he shares.

In Mfaku’s futuristic vision, they face off against a master robot, questioning how African traditions might have evolved in a world without colonial influence.

Mfaku challenges Western ideals that continue to permeate African life, offering instead a vision of a tech-forward, thriving Africa.

His work invites viewers to imagine an alternate African reality—one that empowers, inspires, and envisions a vibrant future.

GQ’s Luthando Vikilahle sat down with the multifaceted creative to discuss his latest projects, his vision for the future, and more.

GQ: You've worn many hats throughout your career—from visual design to entertainment and events. What excites you most about being a multi-hyphenate creative?

Viwe Mfaku (Viwe): What excites me most now is the self-imposed pressure that comes with being a creative professional who has operated at an executive level.

The challenge of constantly pushing boundaries and exploring new creative avenues keeps me engaged and inspired.

GQ: After establishing yourself in the advertising industry, what inspired your shift towards film, series, and event production? How did this broaden your creative expression?

Viwe: Many creatives in advertising fantasise about working in film, and I was no different. I remember a colleague at Woolworths once commented on how my approach to marketing felt cinematic, almost Hollywood-like.

While advertising remains important to me, I've transitioned to bringing a sense of entertainment and storytelling to everything I do, whether it's through my work with CULE, my lifestyle brand IBITSO, or my art business, VMart (Viwe Mfaku Art), with ISINTU.

GQ: Can you tell us more about the ISINTU movement and your vision of it influencing not just art and design, but everyday life across the continent?

Viwe: ISINTU is an art movement that seeks to reclaim and reimagine Africa’s full potential. It’s forward-thinking yet deeply rooted in a love and pride for being African.

My vision is to inspire a mindset shift where we appreciate our inherent sophistication on the same level as the products and ideals imported to us or imposed upon us.

GQ: You describe yourself as a world builder connecting the present with a pan-African future. What key elements do you feel are essential in creating this future, and how do you envision it materializing through your work?

Viwe: The driving force behind my work is a love for Africa and frustration with why mediocrity seems more prevalent than excellence in some areas.

I used to focus on what was wrong, but now I channel my energy into building the world we all collectively imagine. Key elements include quality, pride, self-love, organisation, authenticity, and high standards.

GQ: You mentioned the need for an artistic outlet beyond the boardroom. How do you balance your creative pursuits with the demands of running projects in entertainment and design?

Viwe: In formal settings like entertainment, advertising, and marketing, there’s often little time for innovation due to budget constraints and tight timelines.

That leads to repetition. My creative work outside of business enriches my professional projects because it gives me a broader frame of reference and fresh perspectives.

For example, my current art feels more cinematic, influenced by my work on over 26 different movies, series, and premieres in Europe, the Middle East, the U.S., and Africa over the past two years.

GQ: In your view, what role do art, design, and entertainment play in shaping the future of Africa on the global stage?

Viwe: Before I even launched VMart and the ISINTU movement, it was clear that Africa has been misrepresented globally. Poverty and struggle often get more attention than Africa’s potential to perform at global benchmarks.

While we may not be in the top 5 economically, it’s the continent's potential that keeps drawing global investment and interest. My work aims to push beyond narratives of scarcity and instead focus on inspiring higher standards.

GQ: How do you incorporate this vision into your work?

Viwe: I don’t build concepts that perpetuate poverty or scarcity. Instead, my work looks forward, grounded in African history, but focused on the future. I try to push extremes in creativity, based on African symbolism that we all recognize, creating works that inspire and uplift.

GQ: You've worked with both local and international brands. How have these diverse experiences influenced your approach to creativity and your vision for ISINTU?

Viwe: My work with both local and international brands has helped me identify the gaps between our frustrations as African consumers and the commercial opportunities available to us as professionals, brands, and business owners.

These experiences have shaped my approach to connecting global insights with local potential.

GQ: What are some practical or unconventional applications of art and design you are exploring through ISINTU?

Viwe: ISINTU is a creative mental model. We’re exploring strategic partnerships through VMart and ISINTU, focusing on improving the documentation of African knowledge systems.

We’re also delving into various sectors like architecture, cosmetics, automotive, engineering, literature, and motion pictures, making the ISINTU vision practical and accessible.

GQ: Can you give us a glimpse of what’s next for you? Any upcoming projects or collaborations that are particularly exciting?

Viwe: We have some exciting collaborations in the pipeline. One project is "uVelaphi," an online platform digitizing African knowledge systems and history.

We’re also exploring fashion, homeware, and lifestyle products through IBITSO, with a collection called "Spaza City" currently available at We Are Egg in Rosebank. Additionally, we have a music-related project launching in late October 2024.

GQ: ISINTU emphasizes the essence and culture of indigenous African knowledge systems. How do you feel your work contributes to a contemporary understanding of African identity, particularly in a world where Western ideals dominate?

Viwe: Many traditions were adopted based on the way of life during a specific time, but some aspects need to be refreshed to suit today’s world.

My work aims to preserve the essence of these traditions while adapting them for the future, helping us understand our identity beyond trauma and colonial legacies.

GQ: In your transition from digital prints to traditional oil painting for ISINTU: Season 2, what inspired this shift, and how has this change in medium influenced the themes you are exploring?

Viwe: The shift was intentional. With the rise of AI art, I wanted my work to stand out and feel tangible. Using oil painting, especially with my focus on African science fiction, adds texture and depth to the pieces, making them more personal and meaningful.

GQ: The idea of an Africa untouched by colonization is central to ISINTU: Season 2. How do you imagine this alternate reality, and what message do you hope viewers take away from this exploration?

Viwe: I want Africans to start discussing our future without focusing on our victims. The message is that our identity doesn’t revolve around inherited trauma - we are beautiful, intelligent, sophisticated, and unstoppable when we focus on elevating our standards across the continent.

GQ: On another of your pieces, "Qula Olympics," you reimagine an ancient rite of passage with a futuristic twist. How does your portrayal of this tradition challenge or expand the ways we think about African cultural practices and their evolution?

Viwe: At its core, "Qula Olympics" highlights how ancient rites of passage could take on new meaning in a modern, global context.

It suggests that African cultural practices have the potential to evolve and be showcased on the world stage, reminding us of the strength and resilience embedded in our traditions.