TLC - APS Bursary Fund Launches in Youth Month

“Understanding the world of scarcity that we are in”.

                                                                                              - William Kentridge


As we enter the harsh winter season which is also Youth Month, William Kentridge has once again gifted the TLC-APS Vulnerable Artists Campaign two remarkable prints that speak to the moment.


When asked what these works mean to him, he said, “It’s about an act of kindness, and our humanity - understanding the world of scarcity that we are in”.


The works by Kentridge are limited edition of signed digital prints derived from an original text from the Blue Rubrics series, painted on journal paper using pure lapis lazuli pigment.

The limited edition of 40 signed digital prints in each edition will each provide R15 000 bursaries to art students demonstrating financial need.

The works will be hand-signed by the artist and available for pre-order and purchase via Artist Proof Studio

The Vulnerable Artist Fund (VAF) aims to announce 60 bursary awards on June 30th.

Special prizes will also be issued for juried -selected -best applications (statements and artworks in response to the campaign)


APPLICATIONS are open until June 24th (Youth Month) the month of solidarity and commitment to the sacrifices of the youth towards a democratic future.

Artists can envision hope and aspiration for the world, but also require “a soft shoulder”.

The arts provide possibilities for a renewed and sustainable future and need support.

Many students suffer extreme despair and anxiety, some having lost family members or their anchors to stability and security.

Yet, South African youth are resilient and studying art allows them the agency visualise a different reality as a tool to shape hope for the future.

Many need a “soft shoulder” to help then through.

This campaign provides yet another example of how art creates agency - when an artwork, through an act of generosity and kindness, creates hope and opportunities for aspiring artists.

For Applications Requirements and to Apply please Click Here


  • The closing date for applications is the 24 June 2022.
  • Submissions will be assessed by a panel of objective adjudicators and all applicants will be notified of the outcomes by Thursday the 30th of June 2022.

More about the Vulnerable Artist Fund Bursaries contact:

June 03, 2022


Applications for the Printmaking Education Programme are now OPEN!

Learn printmaking from the printmaking experts and master printers at Artist Proof Studio. Our printmaking programmes are aimed at harnessing your creativity, challenging your potential and creative thinking through printmaking. You will learn how to effectively communicate your ideas and sharpen your creative thinking through the various printmaking techniques, drawing and conceptual studies.  

Artist Proof Studio has been subsidising young artists from different communities for over 30 years. Through fundraising and partnerships we have built over the years, we make it possible for our students to realise and pursue their dream of becoming professional artists.   

Learn more about our Printmaking Education Programme HERE

We encourage all prospective students to apply online before the closing date 21 October 2022

We've made our applications easy and accessible! 

You can now apply online from your phone or computer.

Apply at APS
𝐏𝐫𝐨𝐠𝐫𝐚𝐦𝐦𝐞𝐬 𝐨𝐟𝐟𝐞𝐫𝐞𝐝
➡ 3 Year Full-time Programme (3 days a week)
➡ 1 year Part-time Programme (Saturdays) 

𝐖𝐡𝐨 𝐜𝐚𝐧 𝐚𝐩𝐩𝐥𝐲?
✔ Anyone between the ages of 18 and 30.
✔ Anyone with Grade 10/11 or a Matric Certificate
✔ Anyone with a higher qualification 

➡ A working email and cell phone number
➡ 6 images of your work (drawings, paintings, sculptures etc)
➡ 1 page motivation letter

Acceptance into the printmaking programme is based primarily on talent and a willingness to learn. 

The fees indicated below account to 50% of the actual annual fees costs for a student to study at APS.  The Education Unit constantly seek scholarship funding through corporate and personal patronage to cover the other 50%. We subsidise all our students with materials and tools for them to produce work in the studio.

APS Education fee structure


Registration fee

R1 500

1st Year Programme

R22 000 p/a

2nd Year Programme

R27 000 p/a

3rd Year Programme

R27 000 p/a

Saturday Programme

R11 000 p/a

*Registration fee is payable for all accepted students before the beginning of the programme. Accepted students will receive a student pack with essential materials and tools upon the submission of the proof of payment. 

APS Sponsorship/Bursary

Please note that this bursary programme is not a given. The fund is awarded to students who show commitment to the programme and are in need of financial help. APS reserves the right to discontinue the bursary awarded to students who do not meet the requirements. Please note that the bursary does not cover accommodation expenses, lunch or stipend, it covers your tuition fees and depending on the funding we receive it may cover your transport fees.  

If you would like to apply for a bursary you will be required to submit the following documents.

  • Signed letter of motivation from student
  • A short biography of the student
  • Latest bank statement (three months) of student, parent/guardian to prove financial needs
  • Certified copy of ID student
  • Contact numbers
  • Proof of residence
June 01, 2022

Contour Man: Exhibition by Bokang Mankoe and Nkosana Nhlapo

Artist Proof Studio Exhibitions. Contour man exhibition invitation

You are invited to Contour Man 

A two-man exhibition featuring:Bokang Mankoe and Nkosana Nhlapo

This exhibition examines the odyssey of a boy becoming a man in a contemporary world.

There is a great expectation in the black culture for men, “Monna ke nku, o llela teng” (a SeSotho proverb loosely translated: a man is a sheep, he cries inwardly). A saying similar to “boys don’t cry” which has led men bottling up their emotions and not having the space to express their emotions.

Nkosana Nhlapo monotype print
“My work documents expressed emotions in a state of frustration, loneliness, hardship. A journey to self-discovery as a man is both personal and universal. I aspire to be a role model, a man who instills kindness, discipline, courage, and good moral values.” Nkosana Nhlapo

 Bokang Mankoe - Lava Of Purification - Monotype

 “After the death of my father, I was left with the responsibilities of a father, as I am the first born. My works interrogates the idea of a perfect man, the perfect male figure for my siblings to look us to.Bokang Mankoe

The influences and experiences from their childhood and where they are today has helped shape the path to define who they are and who they want to be. The duo presents a body of work that is a reflection and meditation of the journey and the constraints of becoming a man in a contemporary society. Their work explores a linear discovery of masculinity and identity through alternative print techniques and paper making to construct an ideal man.

Join us at the exhibition and let’s engage in an open conversation about what it means to be a man, today. 

30 April 2022

10:00AM -2PM

36 Boundary Road, Isle of Houghton Office Park, Johannesburg,2198

Follow us on Instagram for updates about the exhibition.

April 14, 2022

2020/21 Annual Report

September 01, 2021

Youth Power


For 30 years Artist Proof Studio has supported the development of committed, skilled, and professional artists who make meaningful contributions in our society through their art practice and engagement with community-based projects.

This vision is shared by many of our partners like Roast Republic who identify education as the standout social issue that has the ability to change the landscape of a country as well as a generation.

Join us in the month of June we celebrate young artists, we are selling a range of investment prints - some available on special offer every first and last Saturday of the month. Roast Republic on-site with the hot drinks to keep us warm! 

Featured Artists Include:

David Madlabane  |  Mandla Mavengere  |  Khosi Kunene  |  Simphiwe Dlamini  |  Amanda Motsegoa  |  Samantha Maseko  |  Cinthia Binene Sifa


June 01, 2021
Celebrating Mandela Day

Celebrating Mandela Day

Celebrating Mandela Day
July 18, 2020
The She-wolves of the Tiber

The She-wolves of the Tiber

About the works

The drawing for Triumphs and Laments is referred to as She-wolf (Basualdo 2016: 259) and is adapted from the sculpture of the Capitoline Wolf (usually dated to the fifth century BCE in the Musei Capotolini Rome) The twins were added in the fifteenth century.

Original drawing (Basualdo 2016: 73)           Kentridge charcoal drawing  (reproduced in Basualdo 2016: Plate 5)


The original ink wash drawings have been translated into monumental prints retaining some of the impetus and spirit of Rome frieze: Triumphs and Laments.

The image is drawn across 20 copper plates with a  coffee-lift mixture. The plates are then covered with BIG acrylic ground and submerged in water to ‘lift’ the drawing through washing, leaving a negative image. This is aquatinted with enamel spray paint and immersed and etched in ferric chloride- a non-toxic mordant.

Kentridge painting a second layer of coffee lift washes onto the copper plates for processing


The paper used to print each plate is hand made from raw cotton cloth and sisal fibre that is cooked, pulped and cast into lightweight sheets at the Phumani Papermill at the University of Johannesburg.  The plates have been further etched and dry-pointed adding additional layers of tone and nuance to the images.

Nathi Ndlandla and Bokang Mankoe mountung prints on cotton cloth


The prints are mounted on raw cotton cloth through the etching press assuming the rough texture of the cloth. The cloth is folded in on itself using the format of a folded map that fits modestly into one’s hands, denying the monumentality of a huge framed artwork. This paradox echoes what Guercio, describing the Rome frieze, called “a desire to experience both the unfolding of time and time itself as unfolding”. 


Nathi Ndlandla and Kentridge checking the trial proof                     Kentridge hand-colouring She-wolf with Jugs print


The edition is ten, with each piece individually hand-coloured by William Kentridge using ink washes to join the folds between individual paper panels. The work folds into a hand-made clamshell box.


She-wolf and Jugs:
Dulce et Decorum est pro patria Mori     Skeleton she-wolf : SPQR (Senatus Populus que Romanum)

143x164cm - 2020 - Edition of 10

Background on the works

Text extracted from: Triumphs and Laments by Basualdo from two essays by Salvatore Settis and Gabriele Guercio and a conversation with William Kentridge. Published in 2016 as a guide to the work.

Triumphs and Laments has been described as “paradoxical monumentality”. The aim of Kentridge’s Roman project is “to capture the transient: to bear witness to what is altered and dissolved over time”. It expresses “a desire to experience both the unfolding of time and time itself as unfolding” (Guercio 2016: 135).

Triumphs and Laments consists of erased graffiti drawings on the banks of the Tiber River between Ponte Sisto and Ponte Mazzini in the heart of Rome. The project was commissioned by a non-profit organization Tevereterno and Kristin Jones. The project was conceived as a performative projection a decade earlier. Kristin Jones worked on a stretch of the wall in 2005 for her project on the she-wolves on the Tiber using erased graffiti (in which the colour of the travertine stone is a light background and the dirt is left after the wall is washed around the image). This was the beginning of the commission with William Kentridge’s monumental procession. 

For Kentridge, this project became about the space between the Vatican and the site of the original segregated Jewish ghetto that was established during the late Renaissance in Rome from 1555 and lasted until 1870 when the Italian army conquered Rome bringing the enlightened views of Garibaldi, Mazzini and Cavour.


In an interview with Carlos Basualdo, Kentridge reveals that:

the big gap in my head was assuming the Roman ghetto was a product of the Middle Ages, and that the impulse of the Renaissance and subsequently the Enlightenment, was not part of the story of the ghetto.

I didn’t know this shameful piece of history was also a product of the Renaissance. So a moment of glory for the city was also a moment of shame….

The point is that both glory and shame happen together, at the same moment. So at a certain point, I realized that this project had to be about the implication of disaster at the moment of triumph (Kentridge 2016: 51).


Of his rendering of the she-wolf he stated: “I felt it was important to show that this animal was not such a benevolent one. I wanted to depict the wolf of Rome not just suckling the twins, but also nipping at the heels of its people, especially the Jews segregated in the ghetto” (Kentridge, interview with Busualdo 2016: 51)


Kentridge’s technique is carried out in sequential steps, first from drawings made on paper (first in charcoal and then in ink) to their translation on the travertine walls that contain the Tiber river today, … that subtracts the dark layer left on the stone blocks by pollution, vegetation and micro-organisms, through washing around the cut stencils with water. According to Guercio, the figure monumental size (their triumph) is inseparable from their precarious state (their lament) since the frieze will inevitably fade away.


This process is described as an “emotional metamorphosis” urging the viewer to reconstruct the artistic process which takes place in the studio” (Settis in Basualdo 2016: 193)

 Scan of image of Kentridge in front of from Triumphs and Laments, Rome  (Basualdo 2016: 61)

In the original “Capotoline Wolf’ the twins underneath her teats are replaced by two milk jugs as if the wolves of Rome produced bottled milk. The other is a skeleton of a wolf gnawed and ghostly and seen through the lens of lament. The wolf reduced to a skeleton is in contrast to the wolf producing milk… “attitudes to the greed that comes with power” (Settis in Basualdo 2016: 178).


The titles and drypoint text in the etchings

Dulce et Decorum est pro patria Mor is a line from the Roman poet Horace’s Odes, and is translated as” it is sweet and right to die for one’s fatherland” The poem exhorts Roman citizens to develop prowess so that the enemies of Rome will be too terrified to resist the Romans.

SPQR (Senatus Populus que Romanum) or ‘The Senate and the People of Rome’ was engraved on all the triumphal arches, columns and cast on battle standards by the ancient Roman legion and refers to the integrity of the ancient Roman Republic. It has become the motto of the modern city of Rome found on every Roman manhole cover in the city.

(Notes by Kim Berman , Jan 2020)

Contact our gallery for any queries on the prints |  011 492 1278 -
February 13, 2020
Another Cat

Another Cat

About the artwork

The origin of this powerful image is derived from an etching plate begun with Malcolm Christian at Caversham Press over 15 years ago and reminiscent of the famous “Scribble Cat” published by David Krut Studio in 2010. The Kentridge studio found the plate stored away on a shelf, with a single state proof. Interested in breathing it back to life, Kentridge suggested it be continued as a collaboration with APS. In response to seeing the trial proof of two plates printed in two different densities of etching ink, Kentridge has added two more layers to each plate; one with energetic drypoint lines and the second with his painterly wash strokes characteristic of the more experimental use of coffee lift.

Kentridge adding dry-point mark making to the copper plates


The resulting image embodies both the creative energy of the artist and poised tension of a cat.

 Another Cat is the latest in a long history of Kentridge’s use of the iconic image of the cat: wrought iron cats frame the entrance to his house and studio, cats appear in many of his iconic videos, drawings, tapestries and prints, and large bronze cat twists on it’s back at the Norval Museum.

William Kentridge – Another Cat – Aquatint Etching – 67x85.5cm – 2020 - Edition of 40


William Kentridge has given countless lectures and there are over 100 books and catalogues published about his work. His impact in the world is astounding; his imagination and breadth of creative practice helps us imagine the world in new ways.


He famously talks about the importance of agency in his work:

The line is going to lead you-it is going to be the dog that is pulling you on the  leash” (Kentridge in conversation with Denis Hirson 2017: 8).

The energy…is partly about the energy of self-deception, of understanding that, among other things, we are people that make sense of clues we are given in the world. And it seems to be about the agency and the pleasure in making the world happen” (Kentridge in conversation with Denis Hirson 2017: 34).


William Kentridge has had a profound impact on the burgeoning energy of the cultural life in South Africa. Through his generous collaborations, he has supported hundreds of theatre, dance, art and sculpture artists and studios. His 25-year partnership with Artist Proof Studio, from his first collaborative etching in 1994 to the many fundraisers and co-publication of the magnificent Triumphs and Laments series has enabled APS to subsidise over 80 talented art students each year to train as accomplished printmakers. Many of our alumni, like Another Cat have released their creative energy into the world, transforming their own and our worlds into acts of re-creation.

Nathi Ndlandla and William Kentridge looking at trial proofs next to Another Cat sculpture

(Notes by Kim Berman, Jan 2020)

Contact our gallery for any queries on the print |  011 492 1278 -
February 13, 2020
Alumni News - Cyril Ramaphosa Foundation exhibition with DuduBloom

Alumni News - Cyril Ramaphosa Foundation exhibition with DuduBloom


On a Saturday morning of 16 November 2019 DuduBloom appeared on Newzroom Afrika alongside Cyril Ramaphosa Foundation CEO, Mmabatho Maboya.

In commemoration of its 15th anniversary, the Cyril Ramaphosa Foundation is hosting an art exhibition which features various mediums such as painting, print and photography. The beautifully curated exhibition includes prints by APS alumni such as DuduBloom, Donald Makola, Thuli Lubisi, Mario Soares to name a few. Who's works were selected as they reflect the ethos of the foundation.

Watch video below where DuduBloom talks about her art making process and the upcoming exhibition.


The exhibition opens on 20 November at Constitution Hill.





November 16, 2019
Alumni News - DuduBloom 2019 Cassirer Welz Award finalist

Alumni News - DuduBloom 2019 Cassirer Welz Award finalist


APS graduate DuduBloom (Dudu More) has been announced as one of four finalists for the 2019 Cassirer Welz Award. The prestigious award take place annually hosted by Bag Factory Artists' Studios in partnership with Strauss & Co and Kalashnikovv.

DuduBloom is the only female artists to make it in the top four finalist. Last month was also awarded The Project Space Co-create Collaborative Residency.

APS is proud of the growing accomplishments of DuduBloom who continues to a role model for other female artists in the industry and students in our education programme! #MOREdudubloom

Winner will be announced on 25 November at Strauss & Co!

November 07, 2019
Abstract Expressions  |  Rhetorical Exhibition Opening and Walkabout

Abstract Expressions | Rhetorical Exhibition Opening and Walkabout

Boitumelo Gaotlaelwe
Mamorena Malakoane
Pule Ratsoma


– [an-exhibition-of-abstract-prints]


Rhetorical finds a new morph in the visual arts. Three artists form three different backgrounds with a common interest in abstract art come together in a display of a body of work. The body of work brings to life the confrontations that each artist faces in the acceptance of their personal past and the effects it has on them in the present day.

Issues of personal identity are explored by unpacking family history and its effects on the identity of the individual. In the present time Boitumelo Gaotlaelwe, Mamorena Malakoane and Pule Ratsoma also find themselves layered with questions, of how the world around them plays a role in a reality of them becoming who they are in the aftermath of confronting a past in an ongoing present time, that can be both forgiving and unforgiving of patience and understanding of the discovery of identity.

The exploitation of mark making and colour of expression asks the viewer to assist the Artists to seek answers to questions that the Artists find to be rhetorical in their world but yet struggle to either find true meaning in them or accept the obvious answers.

The body of work mirrors the layering of this journey of answers. Click image to view catalogue below.

October 29, 2019
Hollard 40th Anniversary print portfolio

Hollard 40th Anniversary print portfolio


We are privileged to have collaborated with Hollard in creating a 2020 calendar portfolio for their 40th anniversary milestone! To commemorate this Hollard commissioned 16 APS artists to create an artwork that captured the culmination of 40 years of Hollard – celebrating all the moments and achievements that make the company special.

As one of the leading printmaking facility in Southern Africa, we are proud to have collaborated with various established and emerging artists who published with our team of master printers. Artists took on the challenge to produce a bespoke artwork using colours from Hollard’s famed brand identity.


Ben Ngobeni
Biotumelo Gaotlhaelwe
Cromwell Ngobeni
David Madlabane
Hlelo Molefe
Gildo Soares
Lebohang Motaung
Lindo Zwane
Phillip Mabote
Precious Mahapa
Pule Ratsoma
Raymond Fuyana
Sizwe Khoza
Thokozani Madonsela
Thuli Lubisi
October 28, 2019