By BRUCE DENNILL
Songezo Zantsi, a visual artist from Cape Town, presented his second solo exhibition, Iyabulela Ilali, along with Vela Projects. Zantsi’s aim is to “create a visual archive of life in South Africa” so he uses his paintings to portray poignant moments of human interaction.
What sort of training have you received and how important do you think it is to seek training (in terms of learning first principles and refining technique)?
For me, art is a natural talent that I discovered when I was younger. To hone and refine my natural skills, I studied Art and Design at the College of Cape Town where I majored in print-making. Formal training is important for learning first principles of art and refining one’s techniques. However, when I finished studying and started practising, I realised that college did not exactly prepare me for the harsh realities of the South African art industry. I realised that I was not well-versed in the ins and outs of the industry. So I decided to shadow some artists in Cape Town including, ceramist John Bauer, whose work I admire. This gave me insights into how the industry operates and allowed me to explore other mediums.
What is your principal medium, and why did you choose it?
I am experimental in my work and use a variety of mediums but I would say the base of every piece that I produce is oil paint. I use oil paint as a principal medium because of its significance in art history. It has played an instrumental role across different eras in the history of art and I want to be a part of that incredible evolution.
Describe the techniques you use most. How complicated are your methods, and why is each step necessary?
For my latest body of work, Iyabulela Ilali, my technique has drastically changed, mainly in the application. I apply the paint on the canvas thinly and lightly using subtle brush strokes. I use thinning substances to break the paint down and make it lighter. I approach oil paints as I would watercolours. The complication of this method is in the layering. It involves multiple steps and recesses in between the layers to allow the paint to dry, which is necessary for a visually appealing result.
What technological tools do you use in your work?
Most of my work stems from photographs that I capture. So I use my camera a lot as well as my laptop.
Who is the single other artist whose style you most admire, and why?
It is difficult to pick just one as I am inspired and influenced by a range of different artists. But for this particular body of work, I was mainly inspired by the legendary Walter Sickert. I am drawn to his style because of its simplistic yet intriguing style. I also really admire his contribution towards revolutionising portrait and scene painting.
Galleries and other traditional means are only one way of marketing art. What do you believe are the most important other routes, and what is the most important insight you have gained in that area in your career?
I think the most important route of marketing art is by asserting yourself in the industry. Yes, galleries are important in achieving that but it can also be achieved by associating with other artist learning their ways, and then applying that to your practice in your own way.
Why do you create? What are your stated goals in producing art?
I mainly create art as a means of self-actualisation and the interpretation of my surroundings. My main goal is to create a visual archive of life in South Africa. So, through my art, I capture and display the rich culture of my country.