Nathaniel Sheppard III, born 1989, is a Printmaker, Painter and Collage artist, based in  Johannesburg, South Africa.

His journey as a visual artist and printmaker reflects a  convergence of cultural influences and a commitment to exploring the socio-political  context of his surroundings.  Having spent his formative years in cities like Chicago and Los Angeles, Sheppard's  educational background in architecture, his move to Johannesburg and enrolment at the  University of the Witwatersrand (WITS) to study Fine Arts that marked a pivotal moment in  his artistic development.

His time at David Krut  Projects further honed his skills, where he had the opportunity to work alongside  experienced printmakers like Jillian Ross. This experience not only expanded his  technical proficiency but also deepened his understanding of the collaborative ethos  inherent in printmaking, particularly within the South African context, where printmaking  served as a vehicle for political expression and empowerment. Drawing from this rich foundation and his involvement in the carving and printing of  “Mantegna” Woodblock print edition for the Triumphs and Laments series, Sheppard  seamlessly integrates printmaking techniques into his painting practice. Collage, in  particular, emerges as a central element, allowing Sheppard to incorporate found imagery  and text fragments that reflect the cultural milieu of printmaking.  In 2016, Sheppard co-founded Danger Gevaar Ingozi Studio (DGI Studio) alongside Anaz  Mia, Sbongiseni Khulu, and Chad Cordeiro. This collaborative initiative was rooted in the  ethos of independent publishing and emphasised the value of labor within printmaking.  Danger Gevaar Ingozi Studio (DGI Studio) sought to not only produce visually compelling  works but also to interrogate the social and economic dynamics inherent in the art world.  

Overall, Nathaniel Sheppard III's artistic journey is characterised by a commitment to technical mastery, and an engagement with the socio-political landscape of South Africa and the Diaspora. Through his work, he continues to push the boundaries of printmaking  while advocating for the recognition of its historical and cultural significance.