Cape Town-based artist Sujay Sanan uses drawing to show appreciation for nature which has translated into his latest big project – the South African R5 coin. We find out more about the process.

How did you get into creating art?

I’ve drawn for as long as I can remember. I was around three when my mother taught me to draw an elephant. When I was around five I had this realisation that if I could imagine every small detail of something I could produce a likeness of it, the possibilities seemed endless, and I’m still trying to get there. I lost touch with art in my late teen years and followed science a year into university. In 2014 I started to draw and paint full-time. I started to learn how to paint in late 2014-2015 because my partner convinced me to pick up a brush.

What mediums do you prefer using?

To produce my work I work with graphite, watercolour, acrylic ink, acrylic paints, oil pencils, kiri (paper cutting), and pens of various kinds. It keeps evolving based on what I want to achieve. I’m deliberate in my approach. So I tend to stay with a medium for a while.

How did your style develop?

That’s a really difficult question. I probably have more perspective on my process than my style. I’d really like to hear how my style is perceived when people have followed my different bodies of work. What is it like? I’d love to hear your opinion.

Do you have a piece that stands out for you?

Every now and then I get lucky and create a work that really resonates well with the intention I’ve set for it. “Otter spotting” from ‘A Place I Know’, “Indian Connection” from ‘Ultramarine’, “Cape Leopard” from ‘Imagine a Forest’ and maybe “Run”  and “Ocean of Stars” from “unEncountered”. I’ve been working on newer works more recently and perhaps approaching the core of that inner truth.

Do you prefer commissions or your own creations?

All commissions are my own creations. I don’t take creative direction from anyone and work form the visions I have. I’m fortunate to be supported by people who resonate with my process. I am lucky to be able to undertake this journey on my own terms thus far.

What is the process for making an artwork?

I generally work towards a body of work. There is a narrative that forms around a central thought. And it always takes many works to elaborate on the main theme. There is a volume of visualisation that takes place. I cannot create without a certain conviction. A fanatical devotion to drawing, refining, and questioning paves the way for my paintings. I have to hold this feeling from beginning to end. So it is not something that I can switch on or off. I have to live the process.

Where do you look to get inspired?

I look to the natural world for inspiration. The story of life, evolution, how living beings respond to stimuli and adapt and change. When we interact with one another, that stimulus awakens a response, a constant process of iteration and change — that is where I find inspiration.

Tell us about the process for the coins and how that came about?

It all began in 2019 when I received an email from SA Mint, a subsidiary of SARB (South African Reserve Bank). I went in for a meeting. Signed a document that was classified by the government as “top secret” and drew my proposal for the coin. Soon after it was selected and I refined the artwork. There is a lot to it. But we know how the story ends.

Any local artists on your radar?

We live in a city with such a concentration of talent. Artists here are extremely skilled and driven. It would be a shame to name a couple of names. There are just too many. Many more for me to get to know yet. Even though we are in a proverbial pond there’s something about the water here.

What does a typical day look like for you?

We built a studio at home. So the commute is fairly easy. A detour to the kitchen for sustenance, coffee you know.

I get to the studio by 7-7:15, light my Palo Santo incense, set my intentions and get down to painting. There isn’t any more coffee after 9 so when I take a break I check on the plants in the garden. New leaves that have grown. The local Mantis, the skink, the occasional little snake, the usual suspects. There is observation of one another, some reverence as I like to imagine. Then I sharpen my pencils or wash some brushes and paint until about 2:30. I have a child, he needs to be brought home from school, it’s part of adulting, and I’m getting the hang of it. We spend time as a family. Walk in the mountains. I’m into rock climbing. So a normal day wouldn’t go without either climbing or preparing my body for a climb. Then there’s supper. It’s fairly early. So there is time to read or indulge in a bit of screen time. Sleep comes quickly and easily.

What are your plans for the upcoming months?

The future looks very exciting. A new body of work is underway that pushes the limits of my imagination. There will most likely be new shows and new opportunities to grow.  That is the artist’s journey, isn’t it?

See more of Sujay’s work, here.

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Designed by Soderstrom Architects and Ferar Studio, this South African Beck Family Estate Winery is the first of its kind outside of South Africa.

The concept behind the building design was to integrate the shape of the winery with the surrounding terrain. Curved living roofs mimic the undulating hills of the American Yamhill-Carlton region. Other main attractions to the space include a bespoke barrel cellar, a statement underground wine library, a fully operational production cellar and mobile bottling facility.

READ MORE: Grape Expectations: New Custom-Built Wine Cellar at Habibi Farm

The brief from owners to architects was to respect the existing integrity and character of the site. This meant tucking buildings into the hills, paring back flashy and extravagant embellishments and incorporating natural and organic materials that mirror the terrior of the terrain.

Using natural light as much as possible was a key factor and design feature for the build. Airfoil panels with narrow windows, glazing, and a striking oculus are used to draw natural light down into the belly of the building.

READ MORE: The Story of Wine at Babylonstoren

Keeping the space devoid of clutter was a main aim – albeit tricky in a fully functioning winery. Smartly hidden pipes and cables create an overall sense of minimalism and cleanliness, while deep in the cellar, a cool quiet space for the barrels to age was imperative.

Looking for more architectural inspiration? Sign up to our weekly newsletter, here.

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A modest farm dwelling on a private reserve in the Boland is gently coaxed into the 21st century and given a new lease on life.

The vast tracts of private land that fan out from the Witte and Bastiaanskloof rivers in the Bainskloof Valley are home to the elusive Cape leopard and impressive birdlife. This is the Kerala Estate and reserve, and being here is a nature lover’s ultimate escape – a chance to unplug while appreciating the fynbos-scented air and the thrill of bracing mountain-water swims.

Keri Paddock and husband Sam understand this appeal, and after purchasing their sweeping Bainskloof property in 2018, set about creating serene living spaces so their family and friends can fully benefit from the surroundings. In fact, their 800-hectare chunk of paradise forms part of the Boland Mountain Complex in the Cape Floral Region, one of nine areas in South Africa designated by UNESCO as World Heritage Sites.

READ MORE: Koegelberg Cabins by KLG Architects

With a clear idea in mind, the couple tasked architect Bridget George of KLG Architects with updating the existing buildings. They also contracted landscaping company Oasis Design to integrate the dwellings into the terrain, and to create unexpected garden spaces filled with fynbos and proteas.

The main villa, India House (featured previously in VISI 110), accommodates up to 10 guests, while the more modest Mapacha cottage ably handles the overflow. “Mapacha was a simple cottage beforehand, with just one bedroom and a mini kitchen,” says Keri. “We loved its heritage and gave it an authentic but thorough overhaul. The name Mapacha means ‘twin’ in Swahili – our twins, Violet and Fletcher, are an incredible example of how different twins can be. We wanted Mapacha to have a fresh, individual identity that complements but doesn’t compete with the grander India House.”

READ MORE: Bainskloof Family Home

This humble kraal building was originally used to enclose cows when the farm was a cattle operation. The cottage was rebuilt from the ground up, but Bridget sensitively paid homage to the existing footprint by maintaining its original width while stretching the length of the building. This allows for two simple bedrooms and two bathrooms that lead out from the central living area. “Careful design transformed the cottage while honouring its character,” she says. “Textured plaster and natural materials characterise the space, while simple forms with seamless glass openings give the design a contemporary edge.”

READ MORE: !Khwa ttu San Culture and Education Centre Designed by KLG Architects

An ornate carved wooden entrance door that Keri sourced during a trip to Lamu Island in Kenya is the only hint of grandeur in the deceptively modest, symmetrical front façade that belies Mapacha’s generous interior. Two rescue donkeys, Buckle and Bella, make a further nod to Keri’s affinity with Lamu; these beasts of burden still feature strongly on the well-preserved Indian Ocean island. Thick walls and small, strategically placed windows on the front elevation ensure the interior remains cool during punishing summer days (and toasty during cold snaps), while polyurethane floors lend the space an air of laid-back simplicity. Timber features strongly – from the symmetrical outside shutters to the ceilings and shelving – and mimics the natural materials that lie beyond the vast sliding doors, which open up to an enclosed back garden. Here, a short path leads to a small, circular wood-fired hot tub – the ultimate spot for gazing up at the stars that litter the midnight Cape skies.

Mapacha’s interiors are earthy, drawing on the natural hues of ochre, sand and stone that surround the building. “Where possible, we supported local artists and artisans, while a few of the bigger furniture pieces were carefully chosen from Saba Studios on Lamu Island,” Keri explains. The result is an effortless pairing of the exotic and the simple – the way nature intended. India House and Mapacha are available for hire as exclusive-use villas – complete with chef, nanny, butler and guide – for four weeks of the year.

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With major wanderlust having been sparked by lockdowns, nature is calling, and Moriko’s cabins might just be the answer.

As is the case with a lot of good design, Moriko came about to meet a need for something missing in the market. Founder Jenna Smily, whose background working in members clubs and hotels in London ignited her passion for hospitality and design, started Moriko to fill a gap. 

A lover of nature-oriented getaways, she found the options really limited. ‘The accommodation tends to be either affordable and rustic or luxurious but expensive. I wanted to create an option that fell in between – accessible but still design forward, with a modern minimalist design,’ she says

With the dual goal of encouraging people to get into nature and explore the country as well as helping landowners enter the tourism market by offering Moriko cabin experiences, Smily’s cabins perfectly capture the zeitgeist of the times.  

Ranging from the Seedling A-frame (at nine square metres) to the Salix one bedroom (21 square metres with an en-suite bathroom, lounge, kitchen and sliding glass doors), the range suits a range of needs and price points. There’s also a sauna (the Serene) which fits up to 6 people and can be used off the grid with a wood fire stove. 

To make things even easier, they’re  pre-manufactured and delivered as a flat-pack kit or as finished modules. Fast and easy to install, they generate almost no waste on site and have low environmental impact.

Looking for more architectural inspiration or modern cabins? Take a look at the The Kogelberg Cabins.

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The Kogelberg Cabins, designed by KLG Architects, are a series of off-grid escapes situated in the Kogelberg Nature Reserve.

Nestled within the southern stretch of the Hottentots Holland mountain range, a renowned World Heritage Site just a few hours outside of Cape Town, the cabins blend into the expanse of rolling valleys, undulating mountain peaks and indigenous fynbos vistas.

In January 2018, a veld fire ravaged the Kogelberg Nature Reserve, destroying five of the eight cabins mid-construction. A specialist landscaping company, Vula Landscaping, was brought in to rehabilitate the vegetation and construction commenced once more. Today, the project consists of five two-person cabins, three six-person cabins, an administration building, a natural ecological swimming pool, and a network of floating timber boardwalks.

The project’s design focuses on the preservation of the natural environment and the use of off-grid technology, as far as possible. The pool is especially unique: it filters itself naturally with plants, while omitting chemicals. The pool platform features a sunbed and pergola, creating the perfect place for guests to bask in dappled sunlight and absorb the incredible views.

The floating boardwalks ensure minimal damage to fynbos and existing vegetation, while raised cabins allow ground water, local fauna, insects and snakes uninterrupted routes beneath them. Each cabin features solar geysers and water-less Enviro-loos: a dry sanitation system that uses heat from the sun and whirlybird extraction to turn sewerage into compost without the use of water, chemicals or electricity.

Love this nature-inspired escape? Book your stay with Cape Nature here. To see more projects by KLG Architects, visit klg.co.za.

Looking for more off-grid escapes? Check out the SPAAS Living Pods and these local cabin retreats.

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Ultramarine, artist Sujay Sanan‘s third solo exhibition in Cape Town, is a graphite interpretation of some of South Africa’s most majestic marine creatures.

Created at a time where humanity was forced to draw inwards for an unprecedented pause, Sujay found himself reaching outwards in the form of drawing cetaceans and sharks. Considering the complex social structures formed by these animals and the resulting freedom of movement presented to them by pandemic-induced lockdowns, Sujay felt them appropriate catalysts for reflection on our collective human responses to fear and danger.

And while they’ve enjoyed a minor reclamation of oceanic terrain, the true freedom of these animals is threatened like never before. Ultramarine serves as a reckoning with human behaviour. It’s a menagerie of stolen portraits of secretive animals, almost too large for us to fathom, brought to light in the hopes humans may find the sense and empathy to protect them.

Ultramarine‘s works do not draw from photographic reference. Instead, the creatures emerge from Sujay’s mind, based on the intake of hours of footage, writing, research and documentation.

Ultramarine can be viewed at 6 Spin Street, Cape Town from 11am – 4pm until 20 November 2020. For more info, visit sujaysanan.com.

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After spending the initial lockdown on the shores of the West Coast, Cape Town-based artist and brand curator Amy Keevy used the colours she experienced in nature, as well as the female form, to inspire her latest collection, Paintings in Ochre: Girl on the Shore.

From blush and rust hues to a spectrum of ochre tones, Amy’s new body of work encapsulates the the flora and fauna of the beachfront, which she had time to explore and ponder as the world was forced into a quiet and contemplative space. Amy used this time to connect with both her surroundings and with the earth and its elements.

Recently, Amy learned of a condition she has called Aphantasia, which is characterised by not being able to voluntarily visualise mental images. “I’d never understood what someone meant when they say they can ‘see’ something in their minds,” she explains. “For me, it’s a blur of colours, tone and light. I’ve wondered if this has made me hold on to the memory of feelings because once I’ve seen something, it’s gone.” This translates into her latest pieces, informing her artistic process and final works.

Using ochre, one of the oldest known pigments for painting, Amy dilutes and condenses her materials to create soft washes or bold colours. She also draws on femininity and the representation of women over time, from the Venus of Willendorf through to modern-day photography and ideals.

See more of Amy’s work here, and follow her on Instagram.

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The owners of Fifty Seven Waterberg in the heart of the Waterberg biosphere had a specific vision in mind for the expansion of their private game lodge.

Once you’ve had the elephants come over to sip from your private splash pool, going out on safari will never be quite the same. “We wanted to give our visitors something they hadn’t experienced before,” says Quintin Wiehahn of the property he co-owns in the greater Welgevonden Game Reserve. “We wanted to bring untamed Africa to them; to let them become a part of nature rather than being spectators from a distance.”

Having worked with several award-winning architects in the past, the Wiehahns knew that Johan Wentzel and Greté van As of W Design Architecture Studio would be the right team to realise their vision. “Greté and Johan’s signature ‘Love living in Africa’ style was the perfect match for the immersive experience we had in mind,” says Quintin.

Following this concept through to the design of the guest suites, the architectural style breaks away from traditional stone-and-thatch game lodge architecture with sleek structures of steel, glass and concrete that blend into the indigenous landscape.

“When surrounded by so much natural beauty, the design is not about the building, but about what you can see from inside the building,” says Johan. “We wanted visitors to make a personal and emotional connection with nature, with the building being simply a ‘sheltered viewing platform’ from which to experience the ever-changing elements and the surrounding wildlife.”

The sensory immersion starts the minute you leave the main lodge, with a guided nature walk to your suite along a meandering concrete path that floats lightly over indigenous shrubbery. It leads towards an unassuming stone structure in the distance, a refined version of the rock-strewn outcroppings scattered along the way. “We spent days scouting the most scenic routes to find the perfect spot for each suite,” Johan recalls. As you enter the suite, the seemingly solid mass turns into a lightweight floating structure of steel, glass and wood, allowing nature to take centre stage and fill the space from floor to ceiling, with breathtaking views all around.

“Apart from the remoteness of the location, our biggest challenge was the short construction period we had to deliver by,” Johan says. Inspired by the layered composition of the Waterberg Mountains in the distance, the architects designed the suites to be constructed in a similar layered fashion. “This way, the bulk of the manufacturing could happen off-site to enable speedy assembly on site to save us time.” Simplifying the process even further, materials were left in their natural, “unfinished” state. “We wanted to celebrate the variety of textures, and the subtle monochrome hues created by their raw tones,” says Greté.

Renowned for their attention to detail, trademark precision planning and a very hands-on approach, the architects steered the entire project team unerringly towards their common goal. “Even when an elephant herd blocked the access road for half a day, our incredible contractors took things in their stride,” Johan says, recalling fondly the experience of working with the father-and-son team at Frans Smith Building Services.

W Design Architecture Studio has won a 2019-2020 International Property Award for Fifty Seven Waterberg.

Looking for more architectural or travel inspiration? Sign up to our weekly newsletter, here, or take a look at the Timbavati Lodge Tree House.

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Swedish wallpaper brand Rebel Walls’ new Trend Collection 2|20 Moss & Coral range, in collaboration with Tess Callervik, is now available locally through St Leger & Viney.

Tess is an illustrator, designer and founder of the Swedish slow-fashion brand, Daynight Casual, and Moss & Coral is her second collection for Rebel Walls. The collection showcases Tess’s interpretation of the natural world and speaks to a child-like appreciation of the wonders of nature.

The collection is made up of five wallpaper designs. Beneath the water’s surface, curious octopi, crimson crabs and watchful eels make for a pleasantly busy backdrop, while black swans and mysterious woodlands dotted with white doves and mongooses exude a sense of soothing whimsy back on land.

Moss-green and coral hues recur throughout the collection, paying homage to the natural biotopes of terrestrial and aquatic animals alike.

See more Rebel Walls’ collections here.

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The reimagining of a southern Kalahari reserve enables guests to interact with nature in an environment that beautifully reflects its exterior surroundings.

Nestled in a corner of the Korannaberg mountain range, Tswalu Kalahari Reserve offers just what the imagination conjures up when thinking “Kalahari”. Tswalu means “new beginning” in Tswana and South African-Namibian architecture firm Savile Row took this very much into account when presented with the project of revitalising Motse, a “village” of nine private houses in the reserve.

“The project upgrade client brief went something like this: ‘Returning regular guests must immediately notice the upgrade in comfort, luxury, intimacy and attention to detail, but it should all still feel comfortingly familiar’,” says Adrian Davidson, director at Savile Row.

In order to avoid compromising on luxury while maintaining a strictly eco-conscious stance, Savile Row’s main focus was to create a symbiotic flow between the lodge and the landscape beyond, making a seamless transition between the two spaces. The result is that guests never feel a divide between themselves and nature. “Our intention was to emulate the ecology of [the area], resulting in an approach that sees the small and rare being as beautiful and valuable as the vast and awe-inspiring,” Davidson says. “As much emphasis was placed on small details as on the architecture, and many of the furniture pieces are one-off pieces designed by our studio.”

As Motse is set in the largest private game reserve in South Africa, it would be easy for a lodge to get lost among the expansive grandeur of nature here. But Savile Row successfully brings the landscape and the human scale together via alterations to the public buildings and each individual legae (Tswana for dwelling). Areas of openness contrast throughout with pockets of intimacy designed for private and contemplative moments. “To this end, we created extensive shaded private outdoor patios at each unit, which allow guests to take in the stars at night or just enjoy during the day,” says Davidson.

In addition, a pared-back and functional aesthetic offers Motse’s guests an authentic safari experience without the over-the-top visual clichés seen at many other reserves. The main bedrooms and bathrooms were extended to allow more light into the spaces as well as visual connection to the outdoors. Each bathroom opens onto a private garden with an outdoor shower, for example.

The expansive sleeping areas posed a challenge in terms of creating intimacy while at the same time elegantly incorporating the requisite mosquito net and paddle fan. Savile Row’s unique solution was a suspended canopy over the bed, featuring a unique canvas map – illustrated by Davidson – of the entire Tswalu property. The result is an intimate room within a room, reminiscent of children’s games in which space is enclosed with sheets or blankets to create a special, extra-private zone.

Also introduced was a new entrance and welcome bar area, which once again features uninterrupted views of the face of the Korranaberg. And then there is the much-heralded new restaurant Klein Jan, headed up by South Africa’s renowned Michelin-starred chef, Jan Hendrik van der Westhuizen. Scheduled to open at the end of 2020, it is set to elevate the level of dining experience at Motse to match the ultra-luxurious lodge and its spectacular natural surroundings.

“A lot of effort went into replanning the kitchen and creating opportunities for indoor and outdoor dining experiences,” says Davidson.“The aesthetic here is all about ‘casual elegance’ with natural materials, colours, textures and forms being used as our palette [for everything] from the building to the decor.”

Motse’s gym, spa and a boutique store with art gallery were relocated to repurposed outbuildings, and a final new addition to the facilities is a photographic studio. Here, guests are able to spend time capturing and editing pictures taken during their stay, learning new photographic skills and making tangible mementos of their unique Kalahari experience.

For more information, visit tswalu.com.

Looking for more inspiring architecture and travel destinations? Take a look at the Leobo Lodge in the Waterberg.

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