You only have to glance at William Kentridge’s family tree to realise why he is such an outsider. His maternal grandmother, Irene Geffen, was South Africa’s first female barrister while his mother, Felicia Geffen, became an anti-apartheid lawyer. Then there’s his father, Sydney Kentridge, the indomitable QC who represented Nelson Mandela in the 1960s and fought for justice for Steve Biko in the 70s. Studying law would have been the obvious path. “Public speaking, thinking on my feet, were natural and easy skills,” said Kentridge back in 1998. “Being an artist was a very unnatural and hard thing for me to do.”
That’s quite a statement. Because in the three decades since, Kentridge has conquered the international art world with the oomph and verve of an emerging twentysomething. He has exhibited in most major museums and biennales, and his work now fetches millions. Along the way, he has collected 10 honorary doctorates, numerous grand prizes in art and theatre, and a spot on the Time 100 list of influential people. Now, fresh from celebrating his 70th birthday in April, he has two solo exhibitions under way, two group shows, four touring operas, a touring feature-length film and a nine-part film series, Self-Portrait As a Coffee-Pot, streaming globally on Mubi “with an accompanying 836-page book”. It’s almost as if he was, indeed, a natural.
