Multi-faceted creative Keith Vlahakis blends a juxtaposition of his skills – street art, illustration, pop art and graphic design, into a hybrid of work that references popular culture and his cultural history. We chat with him about his journey.

Tell us a bit about yourself and your life.

My name is Keith Vlahakis. I’m an Illustrator, Pop Artist, Letterer, Graphic Designer and Street Artist. I like to identify myself as a creative pluralist, I’m constantly chasing the creative high that I get from working on multi-faceted creative projects. I’m inspired by, and influenced heavily by street culture, pop culture, comic books and urban sports. I collect toys, vintage comic books, old sportswear, streetwear jerseys and any form of pop cultural paraphernalia that’s related to my past or that I find inspiring. I spend most of my time drawing and creating in my studio with my cat Rhubarb.

How did you get into your line of art?

I’ve been drawing my whole life, but I really started taking my craft seriously in 1995. I was given an official Marvel Comics Calendar in 95, and I tried to copy all the illustrations in that calendar to make my own posters and decorate/ cover the walls of my room, I consider that moment in 1995 as the inception of my artistic career. School holidays were super boring growing up in the 90s, and I had close to nothing as far as entertainment when I was young, besides reading/drawing comics and watching VHS movies on the weekend if I was lucky. I’m a huge introvert and going outside to hang/play with peers my age didn’t really excite me. The choice was either to waste the days away watching Verimark adverts and Dr Phill/ Judge Judy or to dedicate my life to drawing and making art. I chose art.

I constantly drew and painted as I grew up and experimented with all types of mediums. I studied graphic design after high school and went on to work in the advertising industry for a couple of years. Advertising taught me a lot in terms of marketing, public relations, and how media works. My goal was to win a few awards in the advertising industry, and then use that momentum/buzz to kick-start my freelance illustration career. I won two Loerie awards, 1 for packaging design and the other for hand-crafted typography in 2014, I then left advertising, worked in an illustration studio for like 6 months then resigned again and started my own studio. Thankfully, My studio is doing well and I’ve managed to work on many illustrations and pop culture-related jobs both in SA and overseas. I still work a lot with Advertising agencies, both in SA and abroad, and I have had the opportunity to work on and be part of many international campaigns.

Describe your work in three words.

Neon, Nostalgic and Detailed.

Commissions or your own work?

The sweet balance is when I get to work on a commission that feels like I could have briefed myself on, or that feels like a proactive job.

I’m a firm believer in the notion that, whatever work you put out into the world, people will reference it, and ask you to re-create it or something similar. As long as the content of the job is within my interest, I will enjoy it. This Quote by Confucious has always kept me grounded in my artistic career… “Find a job you love, and you will never have to work a day in your life”.

How do all your facets of art (street art/lettering/illustration) influence each other?

Street art and graffiti influence my typographic style and vice versa, the handcrafted, and digital typographic work influence street artwork because it juxtaposes the norm. Studying old typographers, and the history of type and font designers made me better at painting letters onto walls because my eye and observational skills got better. The range of letters I can spray paint is super vast because I don’t adhere to the rules of graffiti, or new york styled bubble lettering. For example, I could paint a mural inspired by Art Deco-styled typography and Batman “the Animated Series”, when the super gaudy/ art deco styled letters are sprayed large on a wall it juxtaposes their initial meaning and the so-called “rules” of Graffiti and thus creates something new. Something new to me the creator and something new to the viewer/consumer of the art.

The abstract colour and rebellious nature of street art help to keep my design work fresh and upbeat.

Street/ urban culture has always been at the forefront of contemporary creative culture, as long as I stay connected to street culture and focus on what I love, I know my work will be relevant and stand out in a sea of mediocrity. My obsession with comic book characters and comic styles is a huge juxtaposition to what’s trendy in graphic design or commercial illustration, so it stands out and is unusual in an interesting and intriguing way. I try to look at each difference as a strength, my mistakes and nuances in one field are my biggest strengths in another.

What’s your superhero alter ego?

In a superhero landscape, my alter ego would definitely be a Batman Villain. Either the Scarecrow, Carmine Falconi, The Riddler or Bane. Tom Hardy’s Version of Bane though, not the Bane from Batman and Robin.

Typical day in the life of Keith?

I usually wake up super early, sometimes 3 am or 4 am in the morning on a good day. I run or lift weights first, pray and thank God for being alive and the talent I’ve been blessed with, and then start drawing at like 5 am or 6 am. I try to work on my sketchpad for at least an hour every day or second day, as long as I can carve out time. After I work on my sketchbook I get onto the commissioned work. I prefer the early morning or late night to create, as it’s quiet and super peaceful. Mid Morning to later afternoon I’m answering emails and dealing with clients/suppliers while simultaneously watching NBA highlights or NFL highlights. I Lived and worked in the USA for a while and still gravitate more to American sports and urban sports. The NBA and NBA Africa are one of the “dream come true” clients I get to work with, so I try to stay locked into what’s going on in the league. Nighttime is purely for indulging in and consuming good cinema, with friends or sometimes just me and my cat Rhubarb. I love a good movie or comic book podcast, a few pints of beer or bottles of wine, while something is cooking slowly in the background. That’s basically a day in the life of Keith.

How do you rework and incorporate your favourite characters and add your own artistic flair and style into your designs?

I’m constantly thinking about my favourite characters and how their stories can have a direct influence on my work. It’s all about perspective and I ask myself often, “Would you buy this artwork/product you are creating? Would you wear this garment you’re designing? Have I added part of myself into this work or part of my story?”

A good recent example is the character of the city of Gotham. I had a huge studio space earlier in the year but the building I was in was getting old and started to become decrepit, some super scary, dodgy characters roamed the hallways during load shedding, but instead of letting it get me down, I used the building as a motivator to start drawing my version of Gotham. Frank Miller, one of my favourite comic book writers and illustrators, would use the city of New York as a character in his comics. He would open his studio windows wide open to let in the sound of traffic and police cars, turbulence in the city etc. He would try and add that essence into his noir comics, which then gave them an amazing sense of urban grit and realism. That story always stuck with me and I try to use all the elements around me to help give my work greater depth.

Do you have any cool illustrators on your radar in SA?

Illustrators to watch/ on my radar in SA are Mpumelelo Bhengu and Andrea Liang.

What are your plans for the rest of the year?

I have a huge collaboration with a sportswear giant/brand that I’ve been working on for the last year or so. It’s my Magnum Opus. The biggest collaboration project of my career, blending elements of all my artistic disciplines and interests, that is fashion, illustration, street culture, breakdancing, basketball, typography, storytelling, and underground electronic music. This collaboration will be my main focus and I’m super excited to launch it with the partnering brand.No Spoilers but it’s going to be “Massive”. It’s a dream come true and I’m super excited to share it with the public at large. I will also be working on my comic illustrations, I plan to draw a comic chapter of “Vampirella”, my most recent comic venture, that I hope to share at ComicCon 2024.

Follow Keith on Instagram to check out more of his projects, here.

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Cape Town-based writer and underwater photographer Helen Walne talks to us about what it takes to capture her mesmerising images of the deep.

Give us a bit of background on yourself?

I’m a writer, journalist and editor – and now, unexpectedly, an underwater photographer. I’ve worked for newspapers and magazines here and abroad and had a stab at being a poet and a patisserie purveyor. I love words and dogs and kelp forests and chocolate eclairs. I hate hustlers, bigots and kombucha.

Tell us about how you got into underwater photography?

I started swimming lengths at Sea Point pool after my brother drowned himself in the ocean. The repetition and the water were soothing. I then got ridiculously fit and started open-water swimming in the sea. I was amazed at what I saw: sun streaming through the kelp, so many fish, so much colour. I was constantly lagging behind the group I swam with, as I wanted to just slow down and take it all in. So I borrowed a terrible action camera and started taking terrible pictures on solo snorkels around the peninsula, and fell in love with the whole process. Dipping down and capturing this beauty was so meditative. I forgot the human world. One thing led to another, and I got a better, compact camera, and started taking better pictures. And now I have a gigantic set-up as big as a pasta-making machine.  

What gear do you need?

Not necessarily a rig as big as a pasta-making machine! All you really need is a good mask and snorkel, a weight belt to help you stay below the surface, a pair of flippers, and curiosity. A wetsuit is probably a good idea in Cape Town’s chilly water, but I can’t be bothered with all that zipping and heaving. So I don’t use one.  

Where are your favourite places to explore?

Anywhere with kelp! We are lucky to have so many marine protected areas in Cape Town, and I often return to the same reefs over and over again. They’re like shrines, and look different every time, depending on conditions, the time of day, and the light. I am also fond of snuffling around yacht basins, as I love seeing all the colourful life that has colonised human structures. Unfortunately, yacht clubs aren’t that keen on me colonising “their” space, so I regularly get ejected. 

What does the ocean mean to you?

Tranquillity, fragility, tenderness, life. 

What are some concerns you have when trying to capture your images?

That I’ll be able to hold my breath long enough to capture a good shot! And that I’ll be so immersed in what I’m doing I’ll be surprised by a big swell or a rogue snorkeller. 

How do you work with light underwater?

I don’t go deep, so I don’t use strobes. I prefer natural light anyway: the play of it under the kelp canopy is sublime. It often requires staying in one spot and waiting for that split-second, perfect illumination. 

What’s the strangest thing that has happened to you while working in the ocean?

Coming across a huge froth of pink compass jellyfish, all huddled together after a storm. The sight took my breath away. 

Decribe your work in 3 words.

Evocative, illuminating, colourful. 

What does a regular day look like for you?

I have a day job, but have negotiated that I only start at 10am (theoretically). So I will usually head for a dive early in the morning, even if conditions aren’t ideal. Because just being in the water is such a privilege, and there is always something incredible to see — I have learnt so much about sea creatures and plants. Then it’s a lot of Teams meetings and writing and editing. 

What are your plans for 2023?

To wangle a way to spend less time in front of a screen and more time in the water. And start working towards a project that showcases the beauty and importance of kelp forests. 

You can buy prints from Helen of her underwater adventures, here.

Looking for more local art? Sign up to our weekly newsletter, here.

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We spoke to Cape Town-based artist Amy Ayanda in 2020 about her works. We decided to follow up with her and see how things have changed since then. She gives us insight into her new studio, her exploration with oil paints and the arrival of twins.

It’s been a few years since we last caught up. What has changed for you since then?

Many things have changed; I gave birth to twins and am now a mother of three. Juggling this while trying to grow my business hasn’t been such an easy feat but I have slowly begun to find my footing, with many helping hands to support me. I also started working with oils more in 2021 and have brought it into my practice, which I am really enjoying. 

Where are you currently creating?

I have a great studio at home; I moved back into a home studio when I was about to give birth as I knew I wouldn’t be able to commute to work with newborn twins. We moved into my childhood home recently except now I am here with my family. It has been a beautiful circular experience, coming home and creating where I once played as a child. 

How has life influenced your style since our last interview?

Life is busy, to say the least. I have managed to find a good rhythm postpartum and have since launched two collections. Obviously, my time is more limited; there is a lot more intention when I go into the studio. The collections which I have launched are a lot more considered and take longer to get out; which can be a good thing but doesn’t always lend itself to much time for play, which is where I think my work thrives. I have been painting with oils more recently, more whites and impasto mark making. 

Do you have any cool projects on the go currently?

I have recently gotten a space at Side Street Studios on Albert Road in Woodstock. It is on the ground floor with big open windows so you can peek right in at all the magic. The space is now my showroom and store where I sell my work. It is also where I meet clients if they want to have a commission piece created. I love painting from home but I have always wanted a more professional space where I can operate and run the store from. I have worked hard and it feels good to see that hard work pay off. You can book an appointment to view my work at amyayanda@gmail.com

Can you tell us how your music is going and how your art and your music connect?

Music is slow but I have somehow found time to write while I rehearse now and then. I have also been taking lessons in production (an evening online class while the babies are all asleep) which allows me to record anything I write to make demos. I will take these into the studio when I finally get my life together to go record. We are also setting dates to rehearse as a full band again which is honestly just a lot of fun being together in the same room again playing music. 

Are there any new or up-and-coming local artists we need to keep an eye on?

Marolize Southwood has her exhibition launching this Thursday at 99 Loop which I am excited to check out. I am also really in love with Lichen and Leaf’s new range created under Gwynn Studios, really excited to purchase one of her amazing pieces. 

What does a regular (LOL what is regular) day look like for you?

Well, I am up all odd hours of the morning with babies waking up but they usually settle again with some milk. If we are lucky we get a good six-hour stretch. Breakfast time is 6:30 unless we are lucky enough to sleep in! I drop Frances at school and either head to the gym or if I have an early appointment I head to the new office. I order any prints that need ordering, send out any shipments that need shipping. I leave the office around 2 and go to collect Frances from school, it leaves me with time to start on some afternoon painting. I make myself a cup of tea/coffee (depending on how hectic the day has been) and start painting until 4 pm. Our nanny goes home and I start dinner or order in depending on my energy levels. We eat dinner together around 5:30, we bath the twins and get them into bed by 6:30. Once they are down with their milk I get the dog and we go walk for half an hour. Get home, evening paint session, shower, bed by 9:30/10:30. 

Do your children share your passion for art?

Frances loved building things, she loves to paint too but her concentration really sits with cutting and glueing and making truly incredible little inventions from nothing. Atlas and Jude are still very much in their throwing and putting things in mouth phase so it’s way too soon to tell.

Does your art still have strong maternal and familial themes?

I am always returning to the same subject matter. There is a lot that is not constant in my life but returning to familiar themes always seem to ground me, it’s something I won’t ever perfect but will change and grow as I do throughout my life as a creator. 

What are your goals for the next year?

To study again, and to grow more flowers. 

Visit Amy’s website here and follow her on Instagram @amyayanda.

Looking for more local art? Sign up to our weekly newsletter, here, or take a look at this list of local exhibitions to see in 2022.

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The razing of the palace is a limited edition screen print of 25 available in A3. Colijn Strydom and 50ty/50ty’s Jeanne Legrand share more about how it came about here.

“We’ve always enjoyed his work, but his recent direction really caught – and held – our attention,” says 50ty/50ty’s Creative Director Jeanne Legrand. The Meet-in-the-making collaboration draws inspiration from artists’ sketchbooks and their creative processes during lockdown. “Colijns work, subject matter and approach presented wonderful overlaps in that vision.”

Here’s what Colijn had to say about this experience and how his process unfolds and continues to evolve.

Can you share some insights into your sketchbook project and how it evolved?

Beauty Terror Pentheus is the umbrella term for a project I’m engaged in that involves drawing, painting, photography, possibly ceramics and performance. I’m taking on Euripides’ classic play The Bacchae and weaving in elements of my own life. I wanted to find a way, through art-making, to think about gender fluidity but also, importantly, about whiteness (Ancient Greek and Roman culture are commonly regarded as the bastions of Western civilisation, and hence central to the construction of whiteness).

The performance photographs arose out of a need to situate myself within the play as directly as possible. I was surprised and encouraged by what arose and I’ve been developing and playing with the ideas since.

What was it like to collaborate on Meet-in-the-making?

It was a wonderful experience and an honour to collaborate with 50ty/50ty. I have so much respect for them as artists as well as master printmakers, and our conversations and interactions were very inspirational. Being an artist, one often works alone, and it was refreshing to my own practice to be able to engage with others in a creative process.

What emotions do your creations tap into?

The Bacchae is a rich text and the emotions in it range from love, lust, vengefulness and madness to tenderness, hope and regret.

What are you looking forward to next?

I am looking forward to developing Beauty Terror Pentheus to the best of my ability. It still has got a way to go, so for now, I’m staying focused on the path I’m on.

Keep up with the latest from Colijn on Instagram. To buy the limited edition screen print The razing of the palace visit the 50ty/50ty website.

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Cape Town-based digital artist Xia Carstens, aka Xee Summer, has started documenting her favourite spaces and buildings around Cape town in a series of intricate sketches.

What inspired your Cape Town series?

I was driving past De Waal Park one late Sunday afternoon and the light was so beautiful – so, as I went past the gate I decided to pull over and take a picture of it. I thought it would be a lovely thing to draw. I drew it in pencil, which is quite different to my usual style and medium. I really enjoyed working with pencil as a medium again and then decided to take a pic of another iconic spot and give it a go. The series wasn’t planned and sort of took shape by itself. Before I knew it I had compiled a list of places, and I’d love to have a little exhibition towards the end of the year and potentially bringing out little coffee table books too. Who knows?

How did you choose your spaces?

The first few were just places I found iconic, then I started asking my audience to suggest places, and I now have a whole long list to work through this year. It has made me feel so grateful to live here. We haven’t been able to experience most of these places in the lockdown and so many of them were taken for granted before the pandemic. So it’s lovely reminiscing and realising how much beauty we have here in Cape Town.

Do you have a particular favourite?

So far, the Labia.

What do you love about Cape Town architecture?

I love the variety and diversity. I love that so many of the buildings still have that old Cape Dutch style, and that they have kept the old style in so many buildings. I love the Art Deco buildings in Vredehoek and Sea Point too.

What is the process behind your illustrations?

For these, it’s scouting spots, taking pics and composing a nice portrait. Then to my iPad! Some of them take super long, so I really get zoned in and usually put some music on.

How do you decide on the background colour?

I usually take inspiration from the colour of the building, or pick up tones from the photos I take.

What did you do during lockdown to keep busy?

Lockdown felt like a nightmare. I honestly don’t know what I would have done without art. I bought myself an iPad last year after wanting one for so many years and it has honestly changed my life. It’s a huge investment, but I can’t remember what I did with my life before I had one. Probably why no one hears from me or sees me any more either! I’m dating my iPad now and I’m happier than I’ve ever been.

What are your future plans?

My future plans are to be happy and to explore new and different mediums. To branch out as much as I can and to pour myself into as many projects as I can. I’ve been fortunate enough to have a good start to the year and have some exciting new things coming up, so onwards and upwards.

How can people get hold of your prints?

My email address is xiacarstens@icloud.com , my IG handle is @xee_summer so a DM also works. I have a website but I need to update it with all my new prints. I also do commissions on request, and any of my work on my Instagram feed can be printed.

Follow @xee_summer on Instagram to keep up to date with her latest work.

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Cape Town-based artist and graphic designer Maritsa Odendaal creates simple yet bold prints under the name Cat Eats Bird.

Her prints pay homage to the local flora of South Africa. Her work simplifies indigenous flowers and proteas into graphic shapes, lines and blocks of black ink, juxtaposing organic shapes with angular corners.

Here are 10 of our favourites:

See more of her work at cateatsbird.com or follow her on Instagram.

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Artists 4 Equity is an art-based initiative set up by @protest_aspraxis on Instagram to raise funds for community upliftment in the form of an online art auction.

The Nelson Mandela Day fundraiser will run from now until Sunday 19 July at 8pm – you will be able to bid on a large number of pieces created by local artists, with the money raised being donated to the artist’s charity of choice.

The organisations include:

• SWEAT
• Rape Crisis CT Trust
• Khayelitsha CAN
• Keep The Energy
• Restoring Hope
• Reclaim the City SA
• James  House
• Scalabrini Centre CT
• Femme Projects
• Happy Girls SA
• Feed SA

To bid on an artwork, you will need to comment on the artwork of choice and place your bid in increments of R100. The artist will send you the banking details of their chosen charity, which you will pay directly. Upon receiving a proof of payment, the artist will organise delivery of your piece. Delivery, shipping and collection of artworks is arranged between the artist and the buyer.

https://www.instagram.com/p/CCqIiVWJ2F8/

For more information and to bid, go to @artists4equity on Instagram.

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Local apparel and accessories brand Mami Wata (previously featured here) is a celebration of African surf culture. Not only did it recently release a brand-new collection, it also launched The Elbow Project, aimed at uplifting surf businesses impacted by the current crisis.

Until the end of April, The Elbow Project sees Mami Wata donate 100% of the profits made from the purchase of any Mami Wata item on its website donated to grassroots African surf entrepreneurs, including Cebo’s Surf Report in Durban, The West Factory in Abidjan, Cote D’Ivoire and Apish Tshetsha Surf Coach and Tour Guide in Cape Town.

Mami Wata’s new collection consists of T-shirts, sweatshirts, shirts, caps and shorts, all featuring bold, graphic prints with imagery. “This season we’re showing a strong roll out of brand graphics, icons and new, surf-inspired patterns,” says co-founder Nick Dutton. “Sometimes classic. Sometimes funny. Always inspired by Africa and African surf culture.”

For more information and to shop online, visit mamiwata.surf.

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Amor Coetzee, the illustrator behind Cape Town-based studio Dayfeels, has started a new Instagram account that aims to bring a touch of joy to your feed when things start to feel a bit much.

“Smol Things started as an outlet to lighten the load of the daily grind and reconnect to creative play,” says Amor. “I wanted to spark joy, not only for myself but for others too.”

Like many artists across the globe, Amor found herself feeling the pressure to keep her business afloat in this unprecedented time. “I started to lose creative playfulness and had an intense desire to rediscover that again. I made a conscious decision to draw for the sake of drawing and not for any financial / career gain.”

For Amor, letting go of that created a new-found sense of freedom. “I found myself reawakening that inner child that has been asleep for many years. It has certainly saved me during the lockdown and my hope is that these funny little drawings will bring those who view them a little piece of happiness too.”

Follow @smolthings_cpt for more illustrations and visit dayfeels.co.za to shop online. A portion of the proceeds of sales from the COVID-19 series of drawings, seen on @smolthings_cpt, will go towards Corona Care. Orders will be shipped once lockdown restrictions are lifted.

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Cape Town-based graphic designer and illustrator Kim Bischofberger creates striking digital artworks that highlight architectural angles and arches. VISI chats to her about her work, influences and inspirations.

How did you start your design journey?

I studied Graphic Design at CPUT, graduated in 2008, and then worked at a bunch of design and branding agencies in and around Cape Town. I’ve always tried to keep my own creative endeavours going in my free time. Eventually, in 2016, I decided to go freelance full-time, which gave me more time to focus on my illustrations and experiment with prints. A year later, my partner Terence Kitching and I started our own design business called SuperElastic. We offer a full range of services, including branding, design strategy, illustration, UX and interiors.

My career started and was built on a strong branding skillset, but I’ve found that as I’ve progressed and grown as a designer, I’ve fallen more and more in love with interiors, architecture and creating engaging spaces.

Are your images inspired by real places or are they imaginary?

I do find inspiration in places I’ve visited, but my images are imaginary spaces. I’m kind of building my dream home, room by room, in my mind. Each illustration can feel like a different part of a bigger, more intricate building or space or it can just be an interesting view of an imaginary structure.

I love playing with light, and sometimes, I use references of windows casting light, etc to help get the lighting right. I love to incorporate my favourite views into the backgrounds of my images – at the moment it’s a lot of Mediterranean beaches because I’m already missing summer.

What is your process for creating an illustration?

I work in Adobe Illustrator. I’ve built a toolkit of textures and colour palettes that I like to use over a set of images, and then change up, experimenting with what works best.

I like to create images that take the viewer on a  journey through my imaginary spaces, level by level, room by room, highlighting different elements, like archways, staircases, swimming pools, courtyards and windows. I usually create a night and day version of each image, playing with light and shadow.

Your images are all about perspectives and angles. What intrigues you about architecture?

I would have loved to be an architect and have always had a fascination with Art Deco and Spanish architecture. There’s something very intriguing about exploring a building, and discovering new spaces. I love that creating imaginary spaces has no limits. Things don’t have to actually make sense, so I have fun with structures that may not be possible to build in real life.

Do you have any favourite architects?

I’m obsessed with Spanish architect Ricardo Bofill. He mixes classic and contemporary elements in a really inspiring way. I also love designer Camille Walala – she creates incredible, colourful interiors and spaces that inspire pure joy.

What advice do you have for young illustrators?

Creating your own work should always be fun, experimental and without pressure and limits. And practice makes perfect – so make time for it!

Who should be on our radar locally?

Darren Christian (@big_diff_) is an amazing concept artist, he creates haunting scenes and illustrations that always blow me away! I also love Lauren Fowler’s (@bylaurenfowler) whimsical, fantastical style and Eloise de Klerk (@ello_xray_eyez) is a firm favourite of mine!

How can people get hold of your work?

You can order my prints directly from me by emailing kim@superelastic.co.za, or visit my Instagram account, @kimkimbolino for more info. You can also buy my prints from Fabricate (in Cape Town) once it’s open again.

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