We chat with local illustrator Sinenhlanhla Chauke (@99Perspective) about their artistic journey, the vibrancy of African culture and identity, and their creative process.

When did you realise you wanted to be an art director/ illustrator?

Growing up in Kanyamazane in Mpumalanga I would always admire the art that was painted on barbershops, spaza shops and hand-painted signage. It always fascinated me how colourful and precise many of the illustrations were. A spark grew from there, and it continued as I went to study at the Academy of Digital Arts in Cape Town after winning a bursary through my talent and marks. I was always unsure of my direction but I always knew that illustration and art direction would be where I would end up. The flame for illustration and art direction grew more and more when I started my own business and continued to harness conceptual thinking and practising. So it has been a journey to realise why I wanted to be an art director and illustrator.

How would you describe the main vibe of your work?

The main vibe and direction of my work is creating work that speaks to identity, the African perspective, culture and people all of it living in a space and world that is colourful, vibrant, uplifting and bright.

What mediums do you use?

I use both physical and digital mediums: pen, pencil and paper, Wacom tablet and my laptop screen, but I use a lot of other mediums as references, inspiration and sparks to allow me to think deeper. Literature, music and film influence my work heavily and are where I look to sometimes for inspiration or to just take a break from the ideas and concepts in my mind and seek out a different perspective.

Do you prefer commissions coming up with your own concepts? 

Both. I love a good sense of direction and a starting point, but I also enjoy finding my own way through a brief and creative challenge.

Have you done any exciting collaborations over the years? What would be your dream collaboration?

I have done many exciting collaborations over the years with Spotify, Redbat, Archive, Ford South Africa, Culoe De Song, The Loerie Awards and recently with the SAB foundation.

My dream collaboration would be to work on my own sneaker capsule and merchandise with a big sporting or lifestyle giant such as Nike or New Balance.

I would also love to collaborate with local brands such as Mr Price, H&M Home, and Bathu and create amazing capsules that merge my world with their worlds to creative cohesive and out-of-the-box concepts and products.

Give us an example of a day in your shoes.

I wake up almost every day at 6 to start my day with a run / walk to get my body going and active, as I do my morning exercise I listen to music a lot and aim to visualize and think positive thoughts about the day and myself. I begin work around 8/9 and begin checking emails, responding and getting admin out of the way, 12 I take my lunch and read a book for about an hour and a half, from then I work till 5:30 then take my final run/walk to end of the day with a boost of energy and serotonin. 

How important is colour and colour choice in your work?

Colour speaks to the tone and mood of a piece, so colour and colour choice should have a reason, colour can change the emotions, thoughts and feelings of the intended target audience so it is important to be intentional with it. But also bending the rules of colours is something I love to do and experiment with. 

What inspires your pieces? Do you go by a general theme or whatever tickles your fancy?

My influences and experiences influence every single part of my work, my identity, my story and my perspective as an early 20-something figuring it out step by step, day by day. I always try to have a process so working is easier. I can generate concepts quicker if a deadline has a fast turnaround time. I find mindmaps, sketching thumbnails and visualising work help me with that a lot.

How do you bring local elements or pop culture references into your work?

It is not a matter of how – because my work is heavily inspired by my black identity growing up as an African. The African narrative, identity, language, culture and people are so rich in inspiration that it is such a joy to infuse into my work depending on context.

Plans for the future?

My plans for the future are to create more impactful work. To collaborate and attract as many brands, people and friends to work and create magic with. 

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Inspired by humour and music, local illustrator Elio Moavero’s artistic journey began with childhood sketches of favourite characters. Over his nine-year career, he’s crafted a distinctive style that fuses retro aesthetics with a modern touch. We chat to him about what makes him tick.

Tell us about your journey into art and graphic design.

I remember drawing Spider-Man and Dragon Ball Z characters at a young age, which then developed into drawing comics based on my friends and teachers in primary school and then taking Art and Design in High school. I started going to rock n roll gigs at that time and was amazed by the poster art in the scene. I thought that looked like a fun way to make a living.

I attended The Open Window after High school, where I majored in illustration. That university clued me up to the world of art and graphic design, it was amazing (and humbling) to interact with so many like-minded creatives daily. Though I was a bit of a snot in University, I had an inflated sense of self without the skills to match it. I do wish I’d absorbed more of our lecturer’s wisdom, or at the very least experimented more with different mediums. Oh, the benefit of hindsight.

After graduating I worked at an advertising agency called Dogo 115 for about 2 or 3 months. I got a small taste of the advertising agency life there and decided it wasn’t for me. And also they fired me. For leaving early one too many times (why stay until 5 if you’ve finished all your work?). Anyway, I had already started doing some freelance jobs on the side and I imagined that if I put all my effort into that, then I could make something of it. Luckily I was still living with my parents because the freelance lifestyle isn’t very lucrative from the get-go, at least it wasn’t for me. But eventually, I started to build a name for myself.

2023 Marks my 9th year as a freelance illustrator; I’ve been heavily involved in doing the artwork for the South African music scene I love, illustrations for bands overseas (including Metallica and Bob Dylan) and I’ve worked on many big projects with clients like Mcdonalds, Granadilla Swim, Woolworths, Culture Trip and Cadbury to name a few.

How would you describe your work?

This word rubs me the wrong way, but I’d say the best way to describe my work is ‘retro’. But with a contemporary edge. Or contemporary with a retro (ugh) edge. My style is continually evolving, I get bored very easily and find it hard to stick to one approach. Over the years I’ve made and put art out and a lot of the time it’s been close to something I’m proud of, but not quite there. I think as an artist you’re always fine-tuning your work, trying new techniques and brushes and ways of using texture- and I think that’s incredibly important because you learn what fits your style best; keep the good bits for the next illustration and lose the things that didn’t work. It feels like I’ve been doing that for the past 8 years and this year it’s finally landed me in a place where I feel confident and comfortable in my approach. And I’m sure it will continue to change and evolve as the years go by.

What mediums do you use?

I only work digitally these days. I have a Wacom Cintiq, so I draw straight onto every bit of that 16-inch HD screen. I used to do everything in pencil first, then ink it with a brush, scan it in and colour it digitally. But the creative industry is a fast-paced environment – sometimes you’re working on 6 projects that all need your immediate attention, so it streamlines the process drastically. But I’m always trying to simulate the hand-drawn textures and feel of the way I used to do it and of vintage art (comics, posters etc). So the digital brushes I use always have a grittiness and I even use a brush that imitates a pencil when I do rough sketches for clients.

I’m an analogue guy in a digital world.

Do you prefer commissions or your own pieces?

I rarely work on something for myself these days. It’s hard to find the urge or excitement to illustrate something for the hell of it after a long day of illustrating for clients. Which is a shame, and I’m trying to cut some time into my life to get involved with illustration in that capacity again.

Truthfully I would love to only be illustrating for myself – having work in galleries, or making zines or some sort of card game. Anything where I could work without having to answer to the needs of clients, and what I put out was solely my own. But for now, I’m very grateful to be working in the industry – I have a very silly job and I’m incredibly fortunate to be able to make a living from illustration.

What are your thoughts on collaboration?

I’ve not had many opportunities to collaborate with other artists. Nor have I made any real effort to that end. I think, like Justin Timberlake, I excel at being a solo artist. But very recently one of my posters was animated by another company and I really enjoyed the final product. I’ve got plans to follow this collaboration where I conceive the illustrations and someone else animates them. But more on this in the final question. And I suppose that working with clients on jobs is a form of collaboration. They’ve got the ideas and vision (and the money) and it’s my job to conceptualise that into something that slightly resembles what might be a good illustration. It can be difficult when you’re quite pleased with the final product and you receive changes from the client that you don’t necessarily agree with. But at the end of the day, they’re paying for a service, so if you can get your point of view across while incorporating their changes then one often finds oneself in the gravy. Sometimes you have to acquiesce to a client’s crits and chalk it up to a job you’ll cash in on but won’t ever see the light of day in your portfolio. Though, there’s oftentimes when you don’t have to compromise your vision at all, and your expectations and the client’s line up exactly, in tune and beautifully. This isn’t as rare as I’m making it out to seem.

What does a typical day look like for you?

I usually wake up at around 7 a.m. If the weather permits and the mood is right I’ll do a 6km half run-half walk around my neighborhood. Of course, if work is pressing and on top of me I usually forfeit this serotonin-fuelling routine and head straight to the kitchen, where I make a coffee in my Moka pot. Like listening to vinyl records I enjoy the task of making coffee like this, like you’re part of the process in some small way. I appreciate the banality of this insight into the morning routine of Elio Moavero, Illustrator. But it’s important to understand my proclivity for procrastination. I’ll do anything to delay the inevitable start to the work day. But once I’ve sat at my computer (I work from home), delicious, hand-crafted, Italian cup of coffee in hand and get into the day’s jobs, I truly enjoy myself. I try to organise it so that I start the bigger jobs in the morning, I’ll find it hard to begin a job later in the day, there’s something in beginning the day with a new job that hits the right spots and is conducive to summoning up my full attention. I’ll have my first meal at 12 and work until about 6 (the irony of being fired from my first job in the industry for refusing to work a 9-hour day and then inflicting longer working hours on myself, later on, is not lost on me). I suppose it’s not the most interesting workday. I take a lot of mini breaks between hours of working to best utilise my skills. If I work for too long on something I can see the quality lowering. It’s good to find the rhythm that works best for you.

How do you decide on your use of colour?

I usually have an idea of what the colour scheme will be for a poster very early on — or a roundabout idea; warm, cooler, vibrant, subdued. I’ll make a few colour swatches of my own with that initial thought in mind and hope to get it close to what I had envisioned. But it’s certainly an aspect of illustrating I find the trickiest. Sometimes the palette reveals itself almost immediately, but other times I find it much more difficult. There are moments when I get into a bit of panic because I’ve spent too much time trying to find the right colour scheme when there’s a strict deadline hanging over the project. In times like these, or when I just don’t know what the colour scheme should be I turn to finding inspiration on Pinterest or using an online colour palette creator (like Coolors). I’m fortunate to have a mild case of synesthesia, so when I’m working on album or single covers for bands and other musical artists I can listen to the songs provided and gleam a colour scheme from hearing them. This has also helped with writing music for my band, I can see the colour of our songs which helps in keeping them the right cohesive shade, musically. I promise you, I’m not a hippie.

What inspires your pieces? Do you go by a general theme or whatever tickles your fancy?

Generally, I’m inspired by music. Mostly of the more old-school persuasion. I try to impress a personality into my illustrations, some sort of attitude or theme. I was asked to create a pattern illustration for a company a few years ago (vague), there wasn’t any brief or theme supplied, and I had free reign (which asking any artist, can be incredibly daunting). I was listening to an album by some band (more vague) and it just inspired the entire piece. There weren’t elements in the pattern that were taken from specifics in the lyrics, it was just a general feeling that the songs and album provoked. The way that music and fashion go hand in hand for me, a visual identity in music is always something that inspires and excites me.

So I suppose in some way I’m using that formula to create artwork that I can enjoy looking at and making. I’m constantly inspired by other artists too, there’s so much amazing work coming out of South Africa, that it’s hard not to be floored by it from time to time.

Going onto Behance can be daunting – there’s a pantheon of talented people making art that sometimes it feels like being an illustrator in the 21st century is an exercise in futility.

I take inspiration from art and design of the past too – old adverts, gig posters and fashion. Usually with any job, the client has an idea of what they’re looking for and that will dictate what the overall theme or tone of the piece will be. I’m also always partial to injecting humour into my work so that it doesn’t take itself too seriously.

How do you bring local elements or pop culture references into your work?

Any references to local and pop culture in my work will surely come from fashion or film. I spend far too much time in front of the TV or at the cinemas, and it’s somewhat tragic how much pride I take in getting dressed up for whatever occasion and going to places where a fair amount of people watching will surely take place – so I’m constantly in a state of absorbing art in those mediums, which if I get the smallest opportunity – I’ll try find a way to incorporate or accommodate it in my work.

There may not always be in-your-face specifics relating to local culture in my work, but I think I try to capture the general energy of South Africa, the vibrant colours and the resounding soul. Whether it be subconsciously or not, I reckon that your environment will affect your work. Personally, I’m plugged into the weather.

Plans for the future?

I don’t have any large 5-10 year plans. That sort of thinking sends me into a cold panic-induced sweat.

One of my friends and I have an idea to start a motion graphics company, where he’d animate my illustrations. It’s an avenue I’d certainly like to explore. Other than that I guess I hope to just get better at this strange job, hopefully learn a thing or two along the way and more than anything just enjoy myself. I’ll be living in Cape Town as of 2024 so I’m sure that’s going to open up more doors in the creative industry and hopefully artistically and musically too. Or maybe I’ll just give it all up and save the turtles in Bali.

See more of Elio’s work on his website, here.

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Combining modern digital illustration with the more traditional techniques of painting, South African illustrator and animator Tayla de Beer gives us the lowdown on how her work is inspired by people, sustainability and the diversity of our country.

Tell us about your journey into art.

Art has always surrounded me. My grandparents had a framing business, so while growing up I was constantly viewing art, speaking to local artists, and attending fine art classes. In high school, I was lucky enough to take art from grade 10 onwards. This all led me to get a BA in graphic design from the NWU. It was only once I started working at a marketing agency, that I realised illustration was a viable career option. After a few years, I went freelance as an illustrator.

How would you describe your work?

Colourful and character-led, incorporating traditional media to give a handmade feel while maintaining a bold and graphic appearance. People and environmental issues are often at the heart of all my work. 

What mediums do you use?

Primarily digital, using an iPad, pencil, and Procreate. Lately, I have been incorporating more traditional media into my work by scanning watercolour washes and overlaying them digitally. I love traditional media, but I’m far too indecisive to work with it exclusively. In my free time, I paint with watercolours in a more realistic style.

Do you prefer commissions or your own pieces?

Commissions for sure! Personal work is fun, but it can be tough to start a project when the possibilities are endless. Commissioned pieces come with a brief, so you know exactly what problem you need to solve, along with all the other limitations to take into account. The set deadlines also help keep procrastination to a minimum. 

What are your thoughts on collaboration?

I love collaboration, getting out of your head and hearing ideas and advice from other creatives is always great. Collaborating with someone whose skillset, or voice differs from your own can produce work you’d not create otherwise. 

What does a typical day look like for you?

Day-to-day varies between working on commissioned illustration work, doing motion design for a local agency, and then creating physical products to get a change of scenery. Working with my hands on something tactile feels like a lovely break from digital. This has led me to start sewing with fabrics I find at charity shops or second-hand groups. Keeping a sketchbook is not a big part of my routine, but I am trying to incorporate it more. It’s a great reference to use in client projects before searching online for inspiration.

How do you decide on your use of colour?

Currently, I have a colour palette I keep returning to, adding a few new colours as I feel I need them. It sort of feels like a cop-out, but if I didn’t do it this way I’d spend hours trying to put together palettes. I took Tom Froese’s Skillshare class, ‘The One-Palette Illustrator’, which helped me form a base palette that I’ve been building on ever since. I love colourful compositions so having these colours that I know work well together, makes it easier to just focus on the concept and design. Also, using blending modes helps a lot in finding good accent colours.

What inspires your pieces? Do you go by a general theme or whatever tickles your fancy?

A big theme found across my work is people, I love portraying people wherever possible. They’re just so relatable to audiences, you can never run out of new characters to draw with all of our beautiful diversity. Climate issues and sustainability is another inspiration, I love creating pieces that celebrate the earth, as well as inform on things we can do differently.

Plans for the future?

I’d love to partner with more sustainable brands, creating work that audiences can engage with while seeing the importance of sustainability. Showcasing how this mindset doesn’t need to feel forced, or burdensome, but rather as second nature. Producing more physical pieces would be great too, specifically functional hand-sewn pieces from fabric that would have otherwise been thrown away. With a little artistic flair, of course!

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Fine artist and illustrator Ruschka du Doit’s switch from science to art in high school, led to a career in art that nods to the emotive creations of bygone Post-Impressionist painters.

When did you start creating art?

At the age of 16 I was doing really poorly in science class, and in order to drop it I had to take art. That’s where it started, if you don’t count my collages of Leonardo diCaprio and the cast of 90210 as a tween. High school art class really changed everything for me and that’s when I fell in love with painting.

Tell us about your loose and free style?

I’ve always been inspired by Post-Impressionist painters like Van Gogh and Matisse and how their work seems to ‘vibrate’ and contain emotion. I work fast and intuitively, and because I work with ink, there isn’t a lot of time to overthink, which is really great for my overthinking brain. I am not too concerned about painting something exactly as it is but rather as I see or feel it.

What is your favourite subject matter? 

Plants, portraits and still lives in the context of everyday life. The mundane can be very beautiful if you take the time to notice. 

How does your work differ from your art to your illustration?

I don’t think it differs that much stylistically. With illustration work, I will often work digitally and in more detail but the lines are still mine. The biggest difference is that with illustration there is a client brief. But, the reason clients come to me for illustrations is because their brand or message aligns with my style of work.

Do you have a preferred medium or do you change depending on your mood?

The medium depends on the work and the mood I want it to convey. If I want a bit more control and more pronounced brushstrokes I will use acrylic paint but mostly I work in acrylic inks. Honestly, I play a lot too, so I am not too precious about the medium. I do what feels right.

How have you noticed your art evolving over the years?

I have tried different mediums and experimented a lot more. I have learned a lot about colour and considered the things I paint a bit more.

More recently, I have started a mentorship with Katherine Bull and am learning so much from her. It has inspired my process and my thinking. Not having studied art, there is so much of the technicality of making work that I am learning. 

What does a regular day look like?

Never the same if I am honest. 

I love to sleep so my mornings are slow. My husband brings me coffee in bed every morning and I’ll check up on social media, do the daily Wordle and plan my day.

I usually get to the studio by 10 am and start with desk work and admin. I do visual design for local jewellery brand PICHULIK and pattern design for local rug company Coral & Hive so my mornings are usually dedicated to design tasks and admin and my afternoons to painting. If I am having a productive day I will leave work around 4 pm and try to do some exercise. My evenings are usually spent reading and more recently I have become obsessed with the NYT crossword puzzles so I do a lot of that.

Do you draw from memory or use references?

I mostly use images from my camera roll as references or draw from my imagination. Recently I have also started using AI to generate reference images. 

What are your plans for the rest of 2023 into 2024?

Hopefully, lots of painting and illustrating! I am busy creating a body of work that I hope to exhibit early next year. I have been working a lot with Tina at Source Artistry selling existing work and creating commissions for interior spaces. I am also recently represented by Butter as an illustrator and have a very exciting potential collaboration in the pipeline.

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Local artists Lien Botha and Jaco van Schalkwyk combine their talents in a joint exhibition titles After Nature, running at the Barnard Gallery from 31 August 2023. They chat to us about collaboration and the connections between their artworks.

In many ways, it seems that your upcoming joint exhibition After Nature, opening at Barnard Gallery on 31 August, is a long time coming given your shared interests and commitment to collaboration in the arts. Please would you tell us a bit more about the specific motivation for this project and how you hope it will be ‘read’ by those who will encounter it?

Lien Botha: It is interesting to note that both Jaco and myself were artists in residence on the German Island of Sylt during some stage of our careers, so perhaps our alliance was presaged by that sediment of the Wadden Sea. During the Cape Town Art Fair in February 2023; Alastair Whitton, fellow artist, and art director at Barnard, suggested such collaboration and when we started the discussion in April, it soon became evident that our individual processes and concerns were part of a symbiotic drift. The ‘reading’ Is best described by writer and exhibition text contributor, Vernon Head, as an “interconnected offering made into an aesthetic story; our desperate story of our last place for hope; our intrinsic belonging; our wild identity fashioned in the words of art. “We have specifically explored the juxtaposition of differing scales, and the ‘timbre’ of the exhibition is one of toned-down colour, which will hopefully underscore the contemplative nature of this collaboration.

Jaco van Schalkwyk: I have been particularly interested in collaborating with fellow artists the past few years; I believe brainstorming and conversations between different artist’s work are valuable to the art discourses of our times and society in general. Such is the case of collaborating with Lien Botha, an artist whom I greatly admire. I also see the gallery as a collaborative partner, discussing themes, negotiating the exhibition space, curating the works and planning the installation and the architecture of a proposed exhibition.

I have often noted the subtle but clear connections between your works. Although operating in distinct mediums there seem to be a number of points of commonality. Perhaps most evident is your shared interest in, and celebration of the natural world – a concern for and commitment to ‘conservation’ in the broadest sense. Furthermore, you both have an abiding fascination with Natural History museums, ‘Cabinet of Curiosities’ and natural science in general. Perhaps you could each elaborate a bit more on this?

Lien Botha: I have always worked primarily from my environment: the physical landscape as well as the internal landscape, and from this wide space comes small moments and events that can trigger an idea or concept. It is usually the ordinary that informs my work: love, loss, the memory of an ancestor, the life cycle of an insect. The world is an intricate place, fluctuating between order and disaster. But yes, you are right. . . . I have often found solace In Natural History museums.

Jaco van Schalkwyk: Lien and I are both inspired by nature and the conservation and documentation of our natural environment in South Africa and beyond. We both like to travel and document our experiences in nature, also visiting Natural History museums and so-called ‘Cabinet of Curiosities’ when the opportunity allows. I have been aware of this mutual interest for quite a while and was particularly inspired by Lien’s ‘Wonderboom’ project and publication that coincided with my solo exhibition “- arium” at Barnard Gallery in 2017. I also believe our love of storytelling is something that our work has in common – Lien through her photography and writing and for myself the juxtaposing of different paintings in series, groupings or installations. The exhibition title ‘After Nature’ also describes this commonality in our work; it could mean an apocalyptic ‘after’ we (humans) have destroyed nature on this planet, but also “ to paint or record after nature” ( i.e., realism and the imitation of nature). Lien’s recording of museum dioramas and the monochromatic palette of my works is not always ‘true to nature’ though. This almost creates an ‘otherworldly’ feeling or a constructed ‘new world’. My larger landscape painting compositions almost become backdrops or potential ‘new habitats’ for Lien’s juxtaposed bird images.

Lien, would it be fair to say that your photo constructions are of a poetic nature and how does your parallel role as an author impact or influence the way you make visual images?

Lien Botha: In a sense, the camera is both container and mediator which allows one to venture into the world and collect clues that could become part of a chronicle. I have also been intrinsically drawn to the ritualistic aspect of the medium: gathering material and equipment, observing weather reports for outside shoots, getting up early, waiting for light, clouds, or the right season. The dovetailing of image and text, which I realized in my first novel ‘Wonderboom’ (2015), remains a focal point of my practice.

Jaco, although you don’t consider yourself a photographer, you routinely use a camera as a tool in your practice. Perhaps you could expand on the relationship between your paintings and your use of photography in developing your compositions?

Jaco van Schalkwyk: My process always starts with photography, since I am a realist painter and take photos as reference wherever I go, and I also document my immediate environment. I print many of these photos to juxtapose in the studio(sometimes in strange ways to create new landscapes altogether). Sharing these photos and collages with Lien was also the way we brought this exhibition to life.

I have always felt that beyond your shared interest in the natural world and the notion of ‘landscape’ in general, that there is a sense of almost ‘remembrance’ and a certain ‘longing to belong’ in your works. How does your attachment to particular geographies affect and influence the works you make?

Lien Botha: For me, the very nature of photography alludes to the memory keeper. And through that repository, one works with what engages your days and nights at a given moment in time; you toil in order to try and make sense of the past through the present.

Jaco van Schalkwyk: I would like to think that I am not attached to only one place in particular, but more broadly to the planet and therefore conservation in general. We live in a time where almost every corner of this world has been discovered and documented; sadly, our greed and hunger for power as humans has left many of these environments and animal species under serious threat or even on the verge of extinction. Like the curious artists of the past, I am also endeavouring to document nature, but perhaps for a different reason; ‘After Nature’ is almost a final recording or documentation of nature and life on this planet as we know it.

After Nature will be on display at the Barnard Gallery from 31 August to 10 October 2023.

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Western Cape-based illustrator Taila Carboni brings a childlike wonder and innocence to her simplified artworks. She tells us how her process has evolved since she was young.

When she started dabbling in art

“I was a fuss-free kid so long as my mom had crayons and paper on hand. Very little has changed in that regard. I think I’ve subconsciously honoured the childhood origin story of my art by remaining quite childlike in my style and choice of mediums“. 

Her preferred mediums?

“I use fine liners and gritty 8B pencils for the black-and-white pieces. The colourful pieces, however, are a lawless state. While I gravitate towards gauche, crayons, and watercolour pencils, I try to resurface the bottomfeeders of my art drawer every now and again to experiment“. 

What inspires her

“Ideas generally come from my constant ruminating. I’ve got a lot going on upstairs and some of my best ideas have come from me processing thoughts and feelings about myself and the world around me. The anxious ruminations give me a good idea. The good idea inspires the desire to draw. The physical act of drawing calms the mind. Quite a cool system, methinks. Also, vintage smutty art “. 

Black and white of colour art?

“How could I choose?! The crisp black-and-white pieces are the structure and the colourful pieces are the lovable mess. It’s hard not to draw comparisons to oneself in that regard and so, excuse me while I cop out and say I love my children equally“. 

A regular day looks like…

I engage in the small internal Tekken battle of sloth and will most call “waking up” (a struggle as loyal as drawing itself) and crack on with my to-do list. I like to get all the adult-y stuff (running a small business and freelancing) out of the way and free up my evenings for my hobbies.

Three words to describe her style

Irreverent, whimsical, and childlike. 

Commissions VS her own ideas

Definitely my own ideas. I have a drawer full of report cards that can testify to me not being great with being told what to do. 

Her favourite piece

I keep a folder of my favourite pieces. They’re dog-eared and messy but an earnest retelling of life over the years. I’d sooner rescue that folder in a fire than my passport (and not just because the photo in it is harrowing).

Where to purchase her artwork

People can purchase originals and prints through my art page @alittlebehind. 

Incorporating humour into her work

Humour’s up there with drawing when it comes to my go-to coping mechanisms. I think somewhere along the line they joined forces and became a package deal. I think a disregard for proportions, indifference to lighting, and the inclusion of a wayward willy here and there helps too! 

Future plans

I have been readying to create a T-shirt brand. Naming it is an endeavour that is still keeping me up at night (and not in a hot way) but the designs and ideas are locked in and ready. It’ll be a mix of moving, relatable pieces that draw on mental health as well as unhinged NSFW pieces – perfect for Christmas brunch if you want to give your conservative aunty something to talk/pray about.

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Colour, music and nature are all things that translate into Cape Town-based artist Jozelle McClea‘s vibrant paintings. She gives us some insight into how her style and passion have developed over the years.

Tell us about your journey into art.

I was always creative as a youngster. From winning local art competitions as young as 5 years old, I never knew that I would go full circle nearly at 40! I studied art in school and as a subject, I loved it and exceeded in it. My mom and I joined art classes during my high school years which gave me more exposure to the world of art. I didn’t ever feel like studying art, but still stayed with something creative. I enrolled in a private school in Pretoria, Open Window, where I completed my Bachelor’s degree in 2010 and applied for an agency job in Dubai. I loved it but it was too restricted and demanding for my free-flowing creative soul. I have freelanced since 2012 and started painting as a side hustle just before covid hit. I haven’t looked back since I picked up the paintbrush… full circle!

How would you describe your work?

My work is layered, colourful and has lots of rhythm. Paint is already a layered medium, which creates interesting textures where movement and rhythm are seen and felt. My work is a story of growth, passion for life and happiness. It sparks a smile and conversation. No one can put a price on when someone walks past my work and says ‘Wow, how happy and colourful’ and walks off with a smile for the day.

What mediums do you use?

I mainly use acrylic paint on stretch canvas, occasionally I use spray paint, liners, pencil and oil paint in my work. I usually paint on a stretch canvas and occasionally work on paper.

Do you prefer commissions or your own pieces?

I can do both, but I prefer doing my own work in my own time. It feels more authentic in a way, with no restrictions or guides to follow.

What are your thoughts on collaboration?

I LOVE a good collab! I am always keen to put creative forces together and to create even bigger ideas. It’s pure magic!

What does a typical day look like for you?

It changes quite often! I recently moved into a new studio space in Woodstock (CT) and had to create a new routine for my days. My typical day starts with doing mom things, getting my 5-year-old to school, fitting in my new exercise and self-care routine and having a small breakfast at home. I go to the studio around 9/10 am – with the hopes of avoiding traffic from the South going to town as I drive from Muizenberg. First thing in the mornings at the studio I sit on my Mac and work on design projects, emails, and planning for the week/month, I am also going through a major life change and love to sit with my thoughts in the mornings, journaling and finding out more about my journey on this planet, what I want and what important to me right now. It’s amazing how I see small synchronicities during my days and weeks falling into place. I try to start getting creative and paint later in the afternoon which can lead into the evenings depending on how I feel. It is so great having a space outside of the home because when I commute back home it’s relax time – that said my brain never switches off!

How do you decide on your use of colour?

One word – unexpected. I try to push the boundaries of colour combinations. I experiment with how one colour can complement the next. My work is also very VERY colourful and the colour brings in a joyful and playful energy. Colour is a huge part of my work.

What inspires your pieces? Do you go by a general theme or whatever tickles your fancy?

I go with the flow, whatever comes to mind. But there seems to be a general theme of ‘flowers’ and line work in my art, that I take now as my style and go with. Inspiration hits when I’m in a happy place, content with life. Inspiration comes from music (my space is hardly ever in silence when painting), being surrounded by creativity and nature also plays a huge influence. I also get subconsciously influenced by what’s currently trending in interiors, fashion, textiles and colours that I love as a collective always seem to creep into my paintings.

Plans for the future?

I would love to move into the interior world (textiles and furniture collabs and covering) and the fashion world – I have recently launched raincoats that I am super excited about! (It’s my first clothing product with my art as a print). I am exploring painting bigger pieces, pushing boundaries, exploring the international market and entering France and Hong Kong in the future. I am also working on my first solo show, coming up this October with Daor Contemporary Gallery. A new season is ahead. I’m looking forward to making new connections, collaborations and exploring new grounds.

See more of her work on her Instagram, here.

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We catch up with Cape Town-based artist and illustrator Kyle Jardine about his current series of bright, quirky and naive drawings and where he sees his art leading him.

Tell us about your new local illustrations.

I have a love and passion for illustrating cape town. The concept was Initially inspired by travels and naturally took on a life of its own back in my home city. The goal is still to continue growing the collection while I bounce between other projects. Perhaps one day I’ll have enough to compile a short book. For now, I’m continuing to build on it

What mediums are you currently using?

My choice of medium for these illustrations generally stays the same, but like anything they have slightly evolved. This time around I added pencil crayons to the mix, combining inks, pen and markers.

Which is your favourite piece?

Since I have a great love for history and architecture, I love the illustration of the company gardens and the manor house in Constantia. There is just such magic surrounding this magical city.

How long do you spend at each location?

The majority of my drawings are collections of images and photographs. As much as I enjoy on-site drawing, most of the illustrations are completed in the comfort of my home studio.

Tell us about how life has changed since 2019.

Naturally, life has been a whirlwind post covid. Thankfully I’m still around to tell the tale. Since 2019 I have made a complete pivot from a full-time performer, balancing art and illustration to a full-time artist. It was all in all a slightly abrupt transition, rather unexpected but at the same time a welcomed change. Though I had to walk away from theatre due to the impact of covid, my creative calling in the world of art was waiting. I’m grateful to say that I’m navigating a new journey as an emerging full-time artist.

How has your work evolved since we last chatted?

As an artist and creative I think an evolution is inevitable. I’d like to think my style remains and is the foundation and thread of my work. I’ve begun to brave different subject matter, explore new scenes, include characters in my work and of course draw from my theatrical background. My portfolio consists of many large canvas scenes and mixed media pieces.

What does a typical day look like for you now?

I’m grateful to say that since I’ve transitioned and people familiarize themselves with my work, it has allowed me to continue thriving on this journey. Each day is a new adventure. One thing no one warns you about is the amount of admin that comes with growing a small creative business. However, I’m not complaining, and I’m grateful to be creating most days, expanding an array of products and venturing into new collabs.

Any spots that you are super keen on drawing?

I don’t have any specific spot in mind, though I’m always inspired by this beautiful city and the hidden gems it continues to reveal.

Describe your work in 3 words.

Playful, Quirky, Theatrical.

What are your plans for the next few months?

I’m working on a few new projects, one that is in an early phase and can’t entirely reveal just yet. I have been dabbling in the world of ceramics which has been something I’ve longed to do for years. I’m building a collection of hand-painted vessels and even perhaps a range of functional ware. Other than that, I’m continuing to create and explore new original works on canvas and paper, releasing new print ranges and who knows maybe sooner than later reach the goal to release my own clothing range. I’m a boy with big dreams and the sky is the limit, so watch this space or follow my journey at @kylejardineart on my social platforms.

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Cape Town-based artist and lecturer Anya Giselle Woolley creates ethereal oil paintings and watercolours that convey a dream-like quality. We chat with her about her calm and serene artworks.

When did you find yourself interested in art?

I’ve always had a real love for art. When I started kindergarten around 3 years old I remember drawing and painting for hours and hours. I had a wonderful teacher who encouraged me to spend my time exploring this early passion of mine. Then, throughout childhood, some of my fondest memories are of sketching landscapes and old cottages with my sister on family camping trips to places like the Cederberg and Nature’s Valley. Throughout my academic years at school and university, art was always a wonderful escape, helping me to cope with personal stress. 

How would you describe the work you create?

I am fascinated by quiet, peaceful spaces, golden light and ethereal colours. My current series of oil paintings are inspired by forests in Cape Town and the tropical scenery which I encountered whilst living in Vietnam for 6 years. Through my paintings, I wish to evoke the calm and serenity one feels when immersed in these spaces and transport the viewer into an enchanted and almost dreamlike natural world or scene. My watercolour paintings also have similar qualities but they were inspired by my experiences of the scenery and the people I encountered in Vietnam. 

What mediums do you use and are there any challenges?

I mainly work in watercolour and oil. Both have endless creative possibilities. I really enjoy exploring the depth of colour and the light that you can achieve with both media. A big challenge for me with oils, when I was living in Vietnam, was the humidity and the possibility of mould forming on my oil paintings. I’m really happy that this is not a problem in Cape Town. Another challenge is knowing when the painting is truly finished when it has that special feeling or atmosphere. Most of the time this is unconscious and unplanned, so you just have to trust in the process and know that it will emerge through the various layers and colours.

What does a regular day look like for you?

I wake up early as the quiet mornings and the morning light inspires me. I feed my cats, make a coffee and head to the studio to paint for the morning. The late afternoon light can be quite strong in my studio so I tend to do my admin then, followed by a yoga class or a walk on the beach or the local Noordhoek Common. 

Where do you look for inspiration? What moves you to create?

I tend to find inspiration in nature and places that make me feel happy, calm and sometimes nostalgic. A place, a scene or a moment needs to elicit a feeling in me so that I can put my feelings into what I create. I also find inspiration in observing scenes in the early morning or evening when the light is soft and almost golden. 

Your art has a very other-worldly and ethereal quality. Has it always been like this?

I’ve always been a dreamer and attracted to otherworldly, ethereal things and the mystery found in nature. As a child, I spent a lot of time playing outside, walking in nature and observing the small details and beauty in my surroundings. Art has always been a way to express these feelings, so perhaps that’s why my paintings have this quality. 

What is your dream landscape?

My dream landscape is one that takes me to an elevated state, a peaceful, quiet place that is full of light and nature that is thriving. It is part real, part imagined. It is one that is somewhat immersive, which would draw the viewer in to imagine the sights and sounds of nature and experience the serenity and calm of the scene. 

Visit anyagiselleart.com to see more of her work.

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Mpumelelo Bhengu‘s urban and bold art references pop culture with his own South African twist. We chat with him about his influences and process, from drawing on walls to working with clients.

How did you get into your line of art?

I’ve been fascinated with drawing for a very long time. It started at a very young age, glued to the TV screen watching cartoons. We spent most of the days as kids watching cartoons, which think was when the the seed was planted in my head in regards to a career where you get to draw all the time. Days were spent tracing comic books and drawing on walls (which got me into too much trouble). I was fascinated by who gets to draw these animated shows on TV.

I think a more definitive moment of what exactly it was that wanted to do was when I went to college. I got exposed to what creatives, in other countries, were doing and this is where I also realised that you can become an illustrator, which here in South Africa, was quite rare. There wasn’t a stable platform for it here at the time. The more I got exposed to illustrators the clearer it became as to what I wanted from a creative career, and what I could specialise in. 

In South Africa back then, most institutions, when it came to visual arts, focused mostly on Graphic Design and fine arts. You kinda had to create your path/narrative back then, if you wanted to be an Illustrator because the Industry was still small.

After a few years/stints in advertising, as a Graphic Designer/Art director, I decided to take the leap and pursue illustration full-time. It wasn’t easy but I am glad and grateful that I made the change and pursued it.

Describe your work in 3 words.

Urban, fun, bold

Commission or your own work?

My own work all the way. When I had just started, as a freelancer, I was trying to do as many commissioned jobs as possible. This most of the time tended to end up doing trend-based work which is normally referenced by a client. I was more so adapting to international visual trends, rather than being hired for my uniqueness or the value I bring to the table as a creative.

I prefer working on self Initiated briefs. This is very important to my growth process and it helps me put out work that I would like to do. These projects very much lead to the type of client work that I would like to do.

When starting out, clients used to reference other illustrators’ work as a visual guideline and now it’s really amazing when a client gives you free rein to create in your style. Most clients I have nowadays, often reference my work that they’ve either seen on Instagram or Behance.

Personal projects allow you to craft, explore and experiment in different ways. There’s amazing sincerity with personal work. Proactive work is YOU.

What mediums do you use?

My process is very much digital. I use my iPad most of the time cause of mobility and I can go sit somewhere outside and sketch ideas, using a program called Procreate. I use Adobe Illustrator a lot and that’s because most of the illustrations end up being scaled up and Adobe Illustrator can maintain crisp and clean line work.

With all that being said, I still believe the foundation and traditional process shouldn’t be neglected, pencil and paper. There’s something organic and personal when you are sketching ideas on paper and I think it keeps you grounded, especially in this age of technology. Software is one of many tools that help streamline the process, but nothing beats a blank piece of paper and a pencil.

I also buy art books which help from a fundamentals refresher post of view. I also carry field notes with me most of the time.

What’s your superhero alter ego?

I would say Spiderman/Peter Parker. I dig his optimistic nature and doesn’t take himself seriously. He’s also not afraid to try, make mistakes and try again. There’s a relatable human element within him. Spider is just a dude trying to figure out life while he saves people.

Typical Day?

I maintain a 9-5 type routine even though I work from my spot most of the time. This creates structure.

My day is broken down into 3 sections. I wake up around 6 or 7 am. Sleep has become such a priority for me because of how refreshed you feel after you’ve had a good night’s sleep…also I’m at the age where my day gets cloudy if I haven’t had a good night’s sleep.

Once I’m done eating breakfast, I then look at my “TO DO” list for the day. I prefer doing any admin in the mornings, which consists of emails, social media, Invoicing and quotes. This is also when I do my reach-out/lead engagement. This I call the “business development” time.

Around 11 am I start waking on client work, pending on what’s on my plate at the moment. It can be anything from sketching ideas from a client, prepping work and maybe upkeep on existing work. 

If there isn’t much client work, I continue with my proactive briefs. Overall this Time is primarily allocated to client work.

I knock off around 5 or 6 latest then go for a run or a walk. This lets me reflect on the day and to distress.

Evenings are mostly spent chilling and I try and keep my iPad close by should get a light bulb moment and need to sketch something quickly. I’m an avid gamer so I try and allocate some time for this as it also plays an important part in my creative process. I also try and spend an hour or so learning something new, be it a new program or a podcast. I’m currently experimenting with 3d software. Not sure where it is going but I’m having so much fun. Investing in yourself is important

I also make time to catch up with people and reply to messages on social media. I plan as much of the following day as possible before I sleep.

I also have random off days where you just need to get out of the house and do something fun.

Also, you never know where inspiration might come from. GET OUT and GET SOME FRESH AIR.

Plans for the rest of the year?

I’ve been working on a few amazing briefs lately and I’m grateful. 

I’m working on a few self-funded projects/briefs which are pushing me out of my comfort zone a bit. The main goal is to keep being consonant and grow even further.

Follow Mpumelelo on Instagram, here.

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The post Artists We Love: Mpumelelo Bhengu appeared first on Visi.