Win with LG in Man­dela Month

SLOW Magazine - - Contents -

he had to work much harder than be­fore to keep up with the de­mand. In 2005, a Munro fig­ure study sold at a Matla A Bana char­ity auc­tion for R100,000, high­light­ing the in­vest­ment value of his art and caus­ing a sharp in­crease in the over­all prices of Munro paint­ings. It was an in­spir­ing time for the young artist, a time that would have a per­ma­nent ef­fect on his life. SLOW re­cently caught up with Munro to find out more about what makes the artist tick.

SLOW: What in­spired your art be­fore be­com­ing Munro?

Munro: Be­fore I be­came Munro, life was a never-end­ing strug­gle to suc­ceed, to be fa­mous, to make money. Af­ter the suc­cess­ful trans­for­ma­tion to Munro, noth­ing changed for a while, and I en­joyed the fruit of the har­vest to the max. Then one day it dawned on me that I am here to do my part and that part was not for my phys­i­cal ben­e­fit, but to be taught to do what is right. We are not here for our­selves. We are here to be­come bet­ter, to love, to have joy, to be pa­tient, kind and long­suf­fer­ing. We must learn faith­ful­ness, good­ness, gen­tle­ness, and peace. These things in­spire me es­pe­cially when I ap­ply them to my wife and my son.

SLOW: What in­spires you ar­tis­ti­cally


Munro: I am en­tirely driven by love. I want to make some­thing beau­ti­ful and pleas­ing and mind­ful of our times. I want to steal away pain and sor­row and evil thoughts, and re­place them with some­thing trans­for­ma­tive. My paint­ings are there to make peace between ages and races, to speak some­thing uni­ver­sal to ev­ery lan­guage and skin tone. I am in­spired by rec­on­cil­i­a­tion, by open­ness, and a spirit of for­give­ness. We will al­ways have haters and vil­lains amongst us, but for now, I want peo­ple to stand shoul­der to shoul­der and en­joy the colours of my cre­ations to­gether.

SLOW: To what ex­tent does your spir­i­tu­al­ity in­form your work?

Munro: Spir­i­tu­al­ity is what we are. We can­not be dis­con­nected from this. Whether good or bad, it forms the ba­sis of ev­ery­thing we do. I can never paint any­thing be­yond the bound­aries of my be­liefs. To see what a per­son does is a vis­i­ble in­di­ca­tion of who it is you are deal­ing with. SLOW: Did your life change af­ter you be­came com­mer­cially suc­cess­ful as an artist?

Munro: When I re­alised the re­spon­si­bil­ity of suc­cess it al­tered my state of be­ing en­tirely. Be­fore I knew what I know now, I lived with­out a con­science. I did what I wanted and said what I pleased. But it slowly dawned on me that some­thing was miss­ing, and I started search­ing very hard to find the miss­ing com­po­nent. I be­came se­verely con­scious of my role here. For some, fi­nan­cial free­dom is a key to he­do­nism, but af­ter a while, it be­came my ve­hi­cle away from self-grat­i­fi­ca­tion. In­stead, I am here to be­come bet­ter and [to be­come] com­plete.

SLOW: How would you de­scribe your work, and what medi­ums do you pre­fer over oth­ers?

Munro: Joy­ous, se­ri­ous, bright, and mod­ern. I pre­fer acrylic above oils be­cause I work fast and I like im­me­di­ate re­sults. I can­not stand over­work­ing paint­ings. I want them to have an im­pul­sive, youthful air about them.

Al­though Munro of­fi­cially re­tired from be­ing a full-time artist in 2009, he has “grad­u­ally re­sumed be­ing that again”, he re­veals. “Life with­out a job is life­less. I need to work un­til I die. We need pur­pose and the means to do good, for those who can­not work.”

Munro is based in Ma­rina Beach on the KZN South Coast, but some­times works from his stu­dio in Pre­to­ria. To date, al­most 12,000 Munro paint­ings have been sold, and there is no in­di­ca­tion yet that this enig­matic artist will be slow­ing down any­time soon.

For more in­for­ma­tion about Munro and his work, visit www.munro­munro­

In Blue, acrylic on can­vas, 150 x 150 x 5 cm, 2018.

Then thou show­est me their do­ings, acrylic on can­vas, 120 x 120 x 3 cm, 2018.

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