From Johannesburg’s Streets to London’s Galleries
The evolution of contemporary art has increasingly leaned towards the cross-pollination of geographies and narratives, with artists creating hybrid identities influenced by both local and global contexts. This dynamic is visible in the evolving landscape of the European art scene, where emerging voices from various continents are gaining recognition. Over the past decade, Western Europe—and London in particular—have become significant hubs for international exhibitions, showcasing artists from a variety of backgrounds and perspectives, while still maintaining relevance within global conversations. It’s an ecosystem rooted in tradition yet open to reinterpretation, creating space for artists like Fringe, a South African pop artist whose work has attracted growing attention across borders.
Fringe, born in Johannesburg on November 11, 1976, has cultivated a practice that blends the expressive freedom of street art with the more calculated clarity of pop art. His entry onto the European art circuit highlights the increasing interest in non-traditional Western voices. Although still emerging on the global stage, Fringe’s involvement in international platforms has helped him gain further recognition beyond his South African roots.
In 2021, Fringe’s work was introduced to the public in London, a significant milestone that opened up a Johannesburg-based practice to European collectors and critics. The exhibition ran at the same time as broader discussions about art in the context of pop culture recontextualization and critiques of transnational consumer narratives. Fringe’s method—founded in collage, sculpture, and text—addressed these themes with a combination of irony and insight, often centered on a recurring figure named MyLo. Created in 2019, MyLo has since become a symbol Fringe uses to explore themes like time, nostalgia, and identity.
Fringe’s exhibitions have served as a form of translation, moving his Johannesburg-based identity into a framework that can be understood—though not necessarily diluted—by international audiences. While his earlier work included found paper, coloring books, and graffiti, Fringe has gradually transitioned towards incorporating sculptural elements and large-format mixed media works. These shifts, though not only focused on scale, also signify how his work interacts with space and challenges traditional institutional narratives. For example, the resin sculptures of MyLo, which first appeared in his 2021 exhibition No Seriously at Scapegoat Gallery in Johannesburg, were subsequently shown in Europe and interpreted through various cultural lenses. In London, for instance, MyLo was not only viewed as a pop culture reference but also as a commentary on the fleeting nature of meaning in an oversaturated visual environment.
Fringe’s increasing visibility in European galleries aligns with a broader trend of South African artists gaining recognition on the international stage. According to the latest Art Basel and UBS Global Art Market Report, artists from the African continent have seen steady growth in attention, with sales of contemporary African art increasing by more than 40% in the past five years. While many of these artists are from West Africa or work in the U.S. or U.K., Fringe represents a distinctly Southern African perspective—rooted in local experience, yet outward-looking in its approach. His work does not seek to escape his origins, but rather frames them in ways that are accessible to a global audience.
This expanding recognition is not limited to exhibitions alone. Fringe has been featured in several international media outlets, which have contextualized his work within broader artistic movements. These articles often emphasize his non-traditional path into the art world—starting with A-Level qualifications at Kearseny College, working in auction houses, and transitioning into a full-time artistic practice after 2015.
Importantly, Fringe’s engagement with the international art community has not meant abandoning his home base. Exhibitions such as Calculus of Joy (2022) and Stress Narcotika (2024), both held at Scapegoat Gallery in Johannesburg, remain grounded in South African culture while exploring form and message in new ways. In these shows, Fringe continued his exploration of hyper-consumerism, language, and post-colonial identity—issues with global relevance, but often examined through a uniquely regional lens. This dual grounding—in specific cultural context and universal themes—has allowed Fringe to communicate across cultural lines without losing his distinctive voice.
As artists navigate a fragmented and highly digitalized global art economy, Fringe’s career illustrates the opportunities and challenges inherent in such a journey. His presence in European art institutions reflects the increasing permeability of borders in the creative world, while also highlighting the adaptability of an artistic voice that developed outside the traditional art capitals of New York, London, or Berlin.
Whether through exhibitions in London or features in international media, Fringe’s evolving practice continues to move across spaces—geographical, cultural, and aesthetic. His place within the European scene is still growing, but the foundations suggest a sustained and potentially expanding relevance.
