The Rabbit hole magazine by Rabbithole magazine

ART

CULTURE

UNIVersity

THE RABBIT HLE

ESTABLISHED IN 2014 DURBAN South Africa

THE RABBIT HLE

ONE ISSUE

FROM THE EDITOR

After long hours and procrastination here it is, The rabbit hole. A look into into the lives and backgrounds of creatives through their past experiences and their stories. Not just pretty pictures but the backstory of their lives and how they became who they are and what they do. This is for the purpose of design students and graduates around South Africa to get a heads up on the issues that lead to that final destination. Whether that destination be Art or Creative Director. The journey to get there, you with find navigated in the rabbit hole.

Founder Editor-in-Chief

Kazi Cele Copy Editor

Raphael Urwiedwer editorial contributors

Ntando Cele, Shaun Oakley, Phetile Mncunu, Karl Liversidge, Vaughn Sadie, Wesley van Eeden.

No responsibility can be taken for the quality and accuracy of the reproductions, as this is dependent on the quality of the material supplied. No responsibility can be taken for typographical errors. The publishers reserve the right to refuse and edit material. The opinions expressed in this publication are not necessarily those of the publisher. No responsibility will be taken for any decision made by the reader as a result of such opinions. Copyright the rabbit hole magazine South Africa. All rights reserved. Both the icon â&#x20AC;&#x2DC; â&#x20AC;&#x2122; and and name are copyright protected. No part of this publication may be reproduced or transmitted in any form or by any means without written consent from the publisher. the rabbit hole does not accept responsibility for unsolited material.

THE RABBIT HLE

Contents Ntando Cele

Phethile Mncunu

Shaun Oakley

6 22 32

Wesley Van Eeden

Karl Liversidge

9 24

Vaugn Sadie

Thola Moore (music review)

16 30

Art by Shaun Oakley

THE RABBIT HLE

Ntando Cele is a performing artist from Durban; Born 27th of August 1980 in Kwazulu Natal, South Africa. She has a national Diploma in Drama studies from Durban University of Technology and obtained her master of theatre at DASarts, University of Amsterdam in the Netherlands.

THE RABBIT HLE

Looking back, can you summarise your tertiary career from the perspective of where your life is at this moment? I went to tertiary at a very exciting time, I started a relationship with the performing arts and the search for something that will define me as a performer. During tertiary, I discovered the treasure of different art forms that gave me inspiration. I am an actress, poet, singer, teacher and now performance maker. The latter meaning: I can use anything at my disposal as a form of expression. Can you describe European tertiary standards compared to your time at DUT? Well, when I chose to study further, I knew that I needed an environment that not only recognised all the work I had been doing since completing my studies at DUT, but also supported my independence as a freelancing artist and DasArts Amsterdam

was the right match. I don’t think we should compare the two. In Europe I have a unique way of how I deal with my art as my history. This is a big influence in how I perceive myself and the world. Both institutions have shaped my journey up to now. In DUT, I became a versatile performer with agile abilities, while in DasArts I learned to clearly articulate about what happens in the background, what audiences may sometimes never see; the process. I think tertiary institutions are just as good.

In DUT I became a versitile performer

What is strange in Europe is I am still somewhat considered “exotic”. I think in some places they still expect me to show traditional Zulu dancing or do the “click song” as part of my show. I am currently doing a show where I play a white character, “Bianca White” - in order to address expectations we have of each other through skin color. I don’t deny my Zulu background, but I would like to show that identities shift and not stay the same all the time. As someone who has lived in Port Shepstone, Durban, Amsterdam and Bern (Switzerland), I am constantly influenced by different flavours, and the output is colourful, as a child of South Africa I should be free to be whoever I want to be.

You have had the advantage of sampling both local and international theatre experiences. How different are the perceptions of the performing arts in SA and Netherlands?

THE RABBIT HLE

With over 8 years industry experience, from designs on skateboards to corporate illustrations for banks in South Africa, Wesley van Eeden, founder of Resoborg, specializes in crafting, typography, graphic design, illustration, logos, corporate identity, packaging, art direction and general graphic problem-solving.

THE RABBIT HLE

Can you tell us how your environment growing up has effected you to becoming the creator you are today?

by the people around me and how my role as a creative in this space relates to it. Morocco is top on my list to visit next!

I’d say the escape from boredom and the mundane is probably the biggest influence, blessing as well as curse in who I am today. Durban has many positives, great weather, awesome people, cultures and beaches, but on the flip side it’s not the centre of “creativity’’ for Africa. Having said that, we are lucky to be in a time where the internet allows us to work wherever we want, it does not really matter where you live, if your work is good, then people will find you. I’m also not interested in a first world aesthetic or influence. Africa as a “country” is an emerging nation that is fresh and real unlike first world consumer culture. Some of my favourite artists do come from western culture, but as I mature, I am being more and more inspired

How big is the gap of what you learn at tertiary to the requirements needed in the ‘‘real world’’?

THE RABBIT HLE

I think it depends on your area of study and I can only speak of what I have studied. There is certainly gaps in the tertiary level and that’s why I think internships are super important while you are studying. I think studying will give you a step ahead for sure, but don’t just rely on a piece of paper. Sheer hard work, determination, blood, sweat and tears, perseverance and a love for your chosen path will lead you to success. The harder you work, the luckier you get. How important is the role of artists in the business you do? A broad question… not sure

how to answer this. I think art or creativity is essential to thinking outside of the box, even creating new business methods is a form of art. I think there is preconceptions of what ‘‘art’’ is. I think humans in general are artistic beings but it’s society and again education and culture that par define what you are. To me, artists are people who express their thoughts in a number of ways and create problems and find solutions, this could be a mathematician, a programmer or graphic designer. So is an artist important in business? I’d say yes! For a while you lectured in a community initiative called imagination lab before being a full time lecturer at Vega. In your experience, is it nature or nurture that defines our youth? I believe that both play equally important roles. I am a strong believer that the environment you live in is a strong shaper of

our youth and people in general. Who our parents are, our culture, our history etc. All things that define us as individuals and as a nation – it’s a serious thing that can be determinant both in a positive or negative way. I found that even with my background, I can sometimes lose sight of the bigger picture, I can be negative and focus on crime and poverty, but I choose to be part of the solution. That’s one of the reasons I left the industry to teach: as education is really mobility which brings nurture into the picture. With nurture I believe we can disrupt our habits and things can be remoulded. A saying from one of my favourite bands was the album title called:

”progression through unlearning”. A great concept to me which represents the constant urge to progress, to unlearn to learn something new and to constantly be a student and being open minded, humble and open to critique. We also need positive role models in our lives, it’s super important to form your own micro community that inspires and encourages. I think studying and getting a degree will give you a step ahead for sure, but don’t just rely on a piece of paper.

getting a degree will give you a step ahead for sure, but don’t just rely on a piece of paper.

You have worked with clients all over the world; you’ve also been to Finland and other countries in Europe. How is the art scene compared to how it is back home in SA? There is a stronger history in Europe. There is certainly a stronger culture and respect behind it but I think there are a number of factors that nake this so. Europe has had a lot more time to mature and refine its cultural habits as well as economic growth. Its an exciting time for South Africa as we are still developing and can still create our future.Europe is developed. its a done deal. We are growing! the new contemporary art Musuem in Cape town is a sign of good things to come.

THE RABBIT HLE

How would you describe yourself as a creator? In this last four years I have seen myself move from contemporary visual arts practice located within the gallery to a more explorative and collaborative mode of practice outside of the gallery that responds to specific contexts or places. With this in mind, I would describe my style as inquisitive and questioning, rather than having a strong aesthetic register, or this is more how I would like people to describe my process and work. I have continually engaged and worked in other disciplines, collaborating with leading choreographers, theatre makers and sound designers as a means to further developing my own thinking in relation to visual arts and to find out what it means to be a cultural producer in a complex context such as South Africa. You’ve quietly been a pioneer in the art and design industry for many years now; can you tell us how your environment growing up has affected you to becoming who you are today? My upbringing was rather ordinary, much like every middle class white kid growing up in the 80’s and 90’s, I was afforded the opportunity to attend good schools, and had great teachers. My parents were adamant that my siblings and I should attend a technical High School and attain a trade. So at the end of grade 12, I THE RABBIT HLE

completed high school with Electronics and Technical drawing. Growing up, I wish I could say I had an inherent love for art, but like most kids I dawdled and liked making stuff most of the time. Of late I have been thinking of both my grandmothers, both dynamic and interesting women, neither had a great love for the arts or electronics for that matter. However both were socially astute, and made me aware of the unspoken complexity that played out in the various contexts that they engaged in. Though all of these experiences may seem unrelated, these varied contexts in many ways have helped me reconsider how I understand and continually redefine my own practice. Outside of my skill set, it is people that I come into contact with through out a process that help develop the nuisance in the work. It is people, audiences and collaborators that make things possible and create meaning around object/places/experiences that they engage with. How big is that gap of what you learn at tertiary to the requirements needed in “the real world”? For me the gap was fairly large in terms of what was available to me once I had graduated. My first year of lecturing was possibly the hardest and the most fulfilling. I found myself having to learn so much more about how to be and operate in the world. I felt that the formal training and ways of thinking around

making and producing objects prepared me to be able to ask and reflect on what I wanted to be as an artist. The real world is a vast and varied place and I have found myself existing and producing work in multiple and diverse contexts simultaneously. This has been and continues to be an incredibly frustrating and at the same time rich terrain to explore my practice and further evaluate and reflect on my own abilities. Youâ&#x20AC;&#x2122;ve exhibited in galleries and workshops all over South Africa, How is art viewed in places like Johannesburg and Cape Town compared to how it is perceived in Durban? I wish I could say that there is a vast difference, but in reality at their core the majority of the audiences are as conservative as each other. Each city has its own uniqueness; it really feels like the environment and context informs that type of work that is being produced and a response to it.

The real world is a vast and varied place and I have found myself existing and producing work in multiple and diverse contexts at the same time.

THE RABBIT HLE

From the perspective of a lecturer; what is the main factor that motivates students in college? And is there a difference in motivation compared to your time at DUT? This is hard to answer, because I would like to answer: not even they know. In reality: it varies. Success drives most of us and is vital our identity. I would argue that the youth have a different relationship to success or at least the definition of it. There is generational shift, so yes, there is a difference. I was at DUT almost 20 years ago, the World and South Africa are very different now. As youth now there are much more possibilities and opportunities available to you, given you have access to the resources. You were a lecturer at Vega school of brand leadership; in your experience is it nature or nurture that defines our youth?

hop wording in defining organization culture, more consideration needs to be given to the role arts can play. A bit of a personal question; if you could tell your younger self something that you have learned throughout your career, what would it be? Today I would say take more time off.

I was at DUT almost 20 years ago the World and South Africa are very different.

Since 2010 I have been focusing on my own practice and have been freelancing as an exhibition designer and project manager for several NGOâ&#x20AC;&#x2122;s and large scale public art projects. During this period I have facilitated several workshops with groups of youth that vary in age and come from vastly different contexts. For me, it is nurture. Context shapes so much of our worldview, or at least starts to define and impact the lenses through which we question our own need to see them as this homogenous clump. As an example we need to seriously take into account the difference of growing up in a rural context versus an urban context and the impact this has on the ability to access resources, various forms of information and opportunities. The Arts and artists play a vital role in business, often not the extent that it should. Just consider how branding and business has appropriated the vocabulary around creative thinking and practice into corporate culture. Beyond aesthetics, dĂŠcor, branding and hop wording in defining organization culture, more consideration needs to be given to the role arts can play. The Arts and artists play a vital role in business, often not the extent that it should. Just consider how branding and business has appropriated the vocabulary around creative thinking and practice into a corporate culture. Beyond aesthetics, dĂŠcor an branding and THE RABBIT HLE

Words: Phethile Mchunu Art: LiskFeng Matric year, and you feel like you’re invincible! As the year progresses, the realization that you have to start thinking about what you want to do the following year hits you like a slap in the face. Do you want to work, study, or travel? Eventually you decide you want to study further. Now the problem becomes “where” and “what”, which does not really matter at the time. You just need to get in and the rest will follow; the beauty of the folly of youth. The application process takes on a life of its own, collecting documents, waiting for results in between chores. Once that is done, the wait for that crucial acceptance letter begins. Everybody around you. There is no shame in your game. You had endless cross-night sessions in the last three months (little do you know that it’s about to get WORSE). You have earned this. The acceptance letter arrives and you are now officially a student. These are exciting times. In the frenzy of getting baby Einstein ready for the next phase, shopping for stationary, clothes, cutlery, crockery and all the gadgets you may need for your new life, it occurs to you that no one ever told you how exhausting all this would be but you quickly brush it aside and soldier on. Encouraged by your mom’s constant praises about what a genius you are. Arrival at the institution of your choosing is confirmation that this is it! it’s REALLY happening, OMG! Crunch time, what do you want to study. There are so many subjects to choose from and majority of them all end with “-ology”, you sigh thinking about how much you hated biology in High School. So you avoid those subjects and pick the ones that sound simple. The obvious choice for me was English and Media studies, I like languages and like watching E!Entertainment. Yes, this was the basis of my decision. You get registered for res and school and your parents leave and as they drive off you do a little happy dance. Lectures commence and suddenly you find yourself in a lonely space, a place with many people of different THE RABBIT HLE

races and ages, approximately 3000 of them to be exact. You have been thrown into the world in a small space. A world where class marks are now referred to as your DP, venues are meters apart and getting to class becomes exercise. While you’re wondering if you’re even in the correct lecture theatre, the lecturer launches into his or her presentation, and all they seem to be doing is reading the notes that you have in your manual (cue crickets). You forget about your shock, “I am here to learn” you tell yourself (and boy, are you!). You think to yourself, “nobody told me that this is what English is!” You go to more lectures and you find that they are all the same. There you are, frustrated and not excited anymore, because you do not know what you are doing eighty percent of the time. Nobody tells you these things. you have to figure it out on your own. It is time to grow up. In that moment you realize just how unprepared you are for all this and chats with friends slowly become about how hard life is. Similarly, at 06:00 am on a Thursday morning, I heard a knock at the door and unlocked (it could only be 1 person). My friend burst through the door. We started talking about our experience in tertiary and whether we had found ourselves over the last three years. It was a hard pill to swallow when I realized that I have not fully found myself. We both shared this feeling. Needless to say, a detailed analysis ensued; did we know if you have chosen our qualifiications for the right reasons? Do we have the personality’s for this? What are our biggest fears? What are our biggest regrets? Fundamentally, we all aim to have a qualification because we want a better quality of life. However, do we know what a quality life is? In that moment you realize just how unprepared you are for all this

In that moment you realize just how unprepared you are for all this And you think about how hard life can be, irrespective of how hard you may try to be part of the cool crowd and dress in a certain way, do and say all the right things, someone, somewhere along the line will criticize you for it. They may label you as a try-hard or mock you when you speak and it is hurtful. All in all it teaches you to toughen up because a bit of a thick skin may be the only thing to save you from a complete meltdown. So, maybe in retaliation, every once in a while just cut yourself some slack, take a moment to give yourself a pat on the back. You are where you are because of YOU. In short, take your experiences and think about the things you are good at, things that you are proud of and if you were someone else, who would you be. With people being multi-faceted creatures, it is important to know these things for yourself. Because, they, among other things, shape your views and inform the decisions you make in any situation. Have a clear understanding of what is important to you and what is not. From all of this, you identify the areas in your life that need refining and you get to it. After all, we are all a work in progress. Yes, you were chosen out of billions of people to be a statistic at your institution. It is your time and the world presented to you minus the stresses of being a grown up. Enjoy it, play sport, make friends and work hard. You may be the hot chick who does promo’s on a Friday, or part of the eccentric drama crowd or even the Bohemian who stands out in the crowd; who is yet to find herself; moreover learn to tune out the noise and just do you. Have a clear understanding of what is important to you and what is not

Have a clear understanding of what is important.... to you and what is not.

THE RABBIT HLE

Karl Liversidge Karl Liversidge is a freelance illustrator and digital painter from Cape Town; he has worked with clients such as Motorola, black label, Absa and Madison. Capable of varied styles and subject matters his main focus is on High end realism and hyper realism work.

My first question is how did you get to be as good as you are? Many many many hours and sleepless night painting, sketching and studying. Working as a junior Web Developer and Designer I discovered that I had more love for Illustration than I did Design. After working a 9-5 job I would go home and study and paint till early hours in the morning and sometimes I just wouldn’t sleep at all. After a year and a half I managed to get some small freelance jobs which pushed me even more. Even now 3 -4 years down the line I still study and work hard to improve my skills. What is your inspiration behind the style that you have adopted? I’ve never tried to find a style, I always just paint and draw I like and feed off other styles and techniques that catch my attention. I still don’t recognise my own style, but people seem to notice it even if I don’t, which is great I think. I’m still always experimenting with things and trying new techniques and ways to push my work so my style will more than likely change and evolve over time. In the end I have always loved both western and eastern styles and I try to find a middle ground with my work. You’ve quietly been a frontrunner in the art and design industry for many years now; can you tell us how your environment growing up has affected you to becoming who you are today? I wouldn’t say I was a frontrunner, but the digital art and illustration THE RABBIT HLE

side has not been around all that long in general, and in South Africa it is even younger. I’ve always loved games and grew up on a PC and in my time away from the PC I was mostly drawing when I couldn’t do anything else so eventually they joined up when I got a Wacom tablet. I never really knew about the illustration side of the world until 5 years ago while I was still a web developer and hobbyist doodler. I’m still always experimenting with things and trying new techniques and ways to push my work, so my style will more than likely change and evolve over time.

I’m still always experimenting with things and trying new techniques and ways to push my work so my style will more than likely change and evolve over time.

THE RABBIT HLE

What are the conflicts in expressing your creativity and meeting a brief for a client?

How important is the role of artists in business?

bring ideas to a visual form for others to see, so the idea can be shared. Everything has to be drawn / documented / designed before it can be created.All products go through production/industrial design, where people will make the concept for everything, to figure out what it will look like, what it is made of and how it will be or can be used. In the case of the Illustrator, paintings/drawings/illustrations/ are the final product, often used to sell another product or promote an event or idea.

Artists are very important, they

Talent or hard work?

Often many people that show potential do not do as well and are overtaken by people that didn’t show potential but had a harder work ethic. In the end, the only real talent in the world is to keep trying and failing at something.

how this is the way things are done today). Also study more than you are told to, history and theory about artists is less important than having solid fundamentals and learning how to actually draw things correctly. Sacrifice the time now to learn things and you will have time to relax and reap the rewards later.

I generally don’t find many conflicts, I am offering clients a service and all I can do is advise them with my experience and knowledge, but at the end of the day, what the clients want I try my best to give them as close to their vision as possible.

What advice can you give creative people currently in college? IIf you are studying at college, I might say, learn to paint and draw digitally in your spare time. It is something that is essential in the industry these days and I never hear it to be taught in colleges (which is surprising considering

Your ability to airbrush is simply breath taking, is it essential to know how to paint by hand before you can paint in Photoshop? I only painted with oils for a couple of months before moving

Hard Work! I always say, talent is an excuse for people who are lazy or don’t understand the amount of work involved in learning or doing something. I’ve even seen some people get angry at this statement when it is said to them as it implies that person didn’t work hard to achieve a level that they have. I sometimes look at talent as an ability to understand something and or have more co-ordination around a certain task/activity/ subject. But even with “talent” a person still needs to work hard to achieve something.

to Photoshop. Fundamentals are fundamentals, you can learn them digitally or traditionally. Most top flight professionals use both and know that all the knowledge is transferable between mediums(because all that digital art is, is just another medium). I know many artists that have never learned to use a pencil but are creating industry standard work in Photoshop.

talent is an excuse for people who are lazy THE RABBIT HLE

THE RABBIT HLE

Digital Maskandi by Thola Moore

Image source: weareawesome.com Mashayabuqe KaMamba’s uncanny bravery is evident in his EP, The Black Excellence Show when he created a genre that bridges the gap from old and new, and attempting to revive Maskandi however may not be friendly on the ear and enough to put him on the commercial scene. Contributing to the growing number of Durban-born Jozibased artists, Ntsikelelo Ndlovu, widely known as Mashayabhuqe KaMamba (Bhuqe) dropped his six-track free to download EP The Black Excellence Show in September 2013. This EP is Bhuqe’s first offering introducing a genre he created Digital Maskandi. THE RABBIT HLE

Combining traditional Zulu folk (popular as uMaskandi or uMqashiya) vocals with electro influence and heavy autotune production. One can easily find fault in this new genre as there is nothing one can compare it, stipulating if and where some parts of the genre are lacking and where it would need improvement, or if it is musically perfect. This, however, can be said about anything that is fresh; criticism comes before appreciating the intent behind the craft. Bearing in mind that this genre is relatively new, it bridges the gap of fear of remaining who you as Bhuqe’s common subject

matter in this EP about culture and religion, people returning to their roots, unlike like a number of youths unconscious decision of “falling into the western trap” as he puts in the last track of the EP Siyekeleni. There are enjoyable moments on the EP as a whole, in particular Afrikvn Lordz (African Lords), Njalo (Always) and Siyekeleni (Enough is Enough). MarazA is featured in two of three of these pleasing tracks; the EP was recorded at his studio after all, in the exception of Afrikvn Lordz (African Lords). The rapper/ producer is on three of the six songs on The Black Excellence Show.

THE REVIEW 01 Deep End (Kwa Ngqingetshe)x MarazA “Inkukhu izala iqanda, iqanda lizala ibreakfast” (A chicken lays and egg and an egg gives breakfast) is just one of the lines MarazA spits on the track, terribly disappointing because he does not follow up with something somewhat smart to link this line up however gives the song a nice flow. It is a good lead to the EP, “Are you ready for the Deep End” letting the listener hear what is to come.

2 Isigqi Sesono (The Rhythm of Sin) A flat and overly unnecessary reverberation audio with unneeded auto tune is felt more than soulfulness that is somewhat portrayed. The song title gives an impression that he will sing, spit or recite something but instead it is endless instrumentals. This leaves you wondering if he wants you to know that some things do not have to be spoken to be regarded as sin.

03 Njalo (Always) No collection of songs is suitable without a love song, this is a classic “Ngikuthanda uNjalo” (I love you as you are) reminding you of the Brenda Fassie hit. Bhuqe’s rendition of the theme is that everybody has flaws “akukho ntombi engenasici sayo/noma bengathini/ bakhulume bakhathele/lona ngimthande’njalo” but I love you

as you are. Another MarazA feature, who adds a bit of flavour by lyrically doing justice to the song.

The song has the most social commentary which is one of the core values of Maskandi tied in finely.

04 Ungishaya Ngaphakathi (You Drive Me Crazy) Acoustic Version

The Black Excellence Show EP is an example of a stand for artists, that they do not have to conform commercially to be heard, however it may not be enough to put him on the map. It leaves you pondering if Bhuqe is ahead of our time with the creation of a new genre however his efforts are commendable; modernizing and reviving

The track begins with an irritating tunnel autotune, however when Bhuqe starts to sings you forget about that annoyance. The soulful within digital(ness) of the genre, with the strings are equally meaningful. The song could have been better without the autotune, as the instruments are more enjoyable than the vocals and the lyrics

05 Afrikvn Lordz (African Lords) This is probably (the most popular) and the only track (most likely to receive commercial lip service) on this EP that is purely enjoyable, with his honest view on religion and culture and the reciting of the praise names at the end encompass who he is. “Izono zami yebo!/Zaziwa nguwe Baba/ nguwe wedwa” (Only GOD knows all my sins)The production on this track makes it a reputable highlight of the EP.

uMaskandi making it relevant for the his target market. It also leaves you (somewhat) excited for his future explorations and offerings. In the meantime, you can enjoy “Shandarabaa Ekhelemendeh” (the awakening/the rivival) the first single off Bhuqe’s forthcoming The Black Excellence Show EP (Deluxe Edition) which features Okmalumkoolkat, which is due out in early January 2015. This quality produced single is what one can be eager for, it has a very poisonous hook (chant) that sounds more like wicked spell but has enough power to remain in your mind, demanding a replay. This EP gets a Strong 6 out of 10.

06 Siyekeleni (Enough is Enough) x 4Front x Maraza Being the only song on the EP that has the 90s Kwaito feel, Bhuqes verse and recital are the only thing to look forward to, which is right at the end of the track. THE RABBIT HLE

Shaun Oakley Shaun Oakley aka Damn Vandal is a Durban based Graffiti artist and illustrator. Having worked in London and delt with high profile clients such as 5fm, Converse and more.

THE RABBIT HLE

What sort of art style do you have? I think I would describe my style as a fusion between graffiti art and vector illustration. I’m forever mixing the two to get different techniques and colour reference and this helps me solidify my “handwriting” as an artist. So let’s call it “Street”. To be honest, everyone has their own style when it comes to illustration and design, you have to choose if your style suits a brand or not. Technique does help but it’s better to let the client know your style before with a portfolio of sorts so there isn’t a back and forth game of a million changes. I do a lot of research and work with a lot of reference as it keeps the mind open and limitless. You won the Flexifit competition in 2012. Can you tell us more about that? It was a competition held by Flexifit which was hosted at the Interpret Durban 2012. There were a bunch of artists invited beforehand and basically given an open brief in which we were allowed to use any medium supplied by Flexifit. I illustrated a mix up of patterns, imagery and typography within torn panels and won the compo. The prize was 2 limited edition (at the time) DBN and SA flatpeaks as well as the one we designed on the night. That was pretty cool…

What are the conflicts in expressing your creativity and meeting a brief for a client? With regards to my graffiti, there generally isn’t an issue, I scamp up the design before hand and do the changes if need be. I’m the type of designer that does too much, I love detail, I believe the more detail the better, it tells a story in itself. I think sometimes I give the client too much work and it clusters their decision. Some people do 1 logo option for clients, I give 6 so sometimes it works out and sometimes, it doesn’t. I just believe in designing work where I put myself in their shoes and I think “you know what, more options the better.” It’s selfish and lazy, giving the client no choice. #Justsaying

How important is the role of artists in business?

The role of an artist in any position is HUGE. And at the same time difficult. I’ve been in many positions, where I find myself cringing as the client has chosen a design or style of reference that is absolutely terrible. But everyone has their opinion and whether they choose to listen to your advice or not, make them happy. That’s what counts giving the client no choice. #Justsaying THE RABBIT HLE

THE RABBIT HLE

You’ve spent some time working in London; can you tell us how the art scene is there?

WOW, where do I begin? Art in every sense is appreciated way more and seen as a positive, in the eyes of the public. This is emphasised by clothing brands as they use local and international graffiti and street artists to design graphics and prints for their ranges. Even the huge brands like River Island, Topshop, HUF take advantage of this. It’s a way for artists to be recognized and be paid for their talent so I think South Africa has a lot to learn but we are getting there slowly but surely. I think we are still stuck in the box but the lid is open. Any comments about SA institutions? Look I can’t talk for all institutions but the one I went to provided us with the tools and equipment that all artists should start with. They pushed “concept” a lot but most of the time we were told to learn programs, watch tutorials and figure out what our style was. They didn’t teach us the right techniques or shortcuts, I learnt all the vital things when I started working. That’s what you should be learning, how to make design quicker and more effective. Although I studied 3 years of visual communications, when I reached the front doors of an advertising agency, I knew it wasn’t for me. It was too routine and limited. I also noticed that it was less concept work and more run of the mill boring packaging design and magazine adverts. Blah.

THE RABBIT HLE

THE RABBIT HLE THE RABBIT HLE