He quickly became a loyal friend and supporter, championing his work in artistic circles. One key figure who took an interest in Dumile following the Gallery 101 exhibition was the artist Bill Ainslie. In the years from 1966 to 1968 there was a surge in interest in the work of black artists, and Dumile was now well networked in this white-black world of left-wing intellectuals. Within just two years Dumile had three solo exhibitions, represented South Africa with five works at the Sao Paulo Bienniale of 1967, participated in several group exhibitions and received a number of prizes. The exhibition was a pivotal moment: Dumile's name and reputation spread quickly in the art world of Johannesburg and his strong, unflinching, expressive drawings made an indelible mark on the landscape of South African art. After showing her some of his small sculptures and drawings, Dumile was offered a contract with the gallery and his first solo exhibition. There he met the director of the gallery, Madame Haenggi, who was willing to see the young artist's work. He wanted to meet the artist and went to Gallery 101 in Johannesburg to try and find him. He visited an exhibition of Boboreki's sculpture one of the first exhibitions he had ever seen. Encouraged by this experience Dumile (1942-1991) began to show a real interest in Fine Art.
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