Bonaventure Soh Bejeng Ndikung at Artforum:
THERE IS A CERTAIN PROFUNDITY—a profundity that can only be qualified and quantified as tautology—a deep profundity in Santu Mofokeng’s work, which thrusts the viewers, if they are willing to listen to the images carefully, into a space of timelessness. A timelessness that speaks of the elasticity of time beyond time, beyond geography. A deep time. Not in the geological, Huttonian sense of deep time, but as in time’s transience and transcendentality. A time beyond the temporality of the lived imagination. I have found myself in this time-space often when looking at and listening to Santu’s photographic series, particularly “Landscapes,” 1988–2010; “Poisoned Landscapes,” 2008; “Townships,” 1985–87; “Child-Headed Households,” 2007; “Train Church,” 1986; “Landscapes of Trauma,” 1997–2004; “Chasing Shadows,” 1996–2006; and “Ishmael,” 1984–2005.