What inspired you to use the materials you are using now?
Each material I utilise has its own story for me; one that I relate to personally, and one that is constantly being revealed through working with that material.
My work with beer bottle tops was born less from inspiration and more from necessity. I was an art student at Wits, with limited resources and a desire to make, and this led me to use what I noticed around me. I saw bottle tops strewn on the pavements while walking through Braamfontein and in the gutters outside shebeens, and I began to collect as many as I could. I noticed that the majority of caps across beer brands were gold in colour, which then allowed me to explore the history of "eGoli" through the only "gold" we see remaining on the streets of Joburg.
My work with toothpicks developed through a chance encounter around a dinner table with friends. I reached over for the box of toothpicks and noticed how they had swirled into a sunflower-seed-like Fibonacci pattern.
I found this moment interesting enough to take a photograph. I sat on this photograph for a year and a half before I did anything with it.
The way I work with toothpicks has developed as my understanding of the possibilities of the material grows. There seems to be a constant endeavour to work to the point where the toothpicks transcend themselves. I think the fact that it took me almost two years to work on my first toothpick project was because I didn't see the value in the material.
I dismissed it as an unworthy "art" material. I've pondered this value judgement through my subsequent work, and I think I've now started to question the notion of perception through my practice as a whole.
Despite starting with the personal resonance each material had for me, I've found that by utilising materials that are embedded within our social fabric I am able to engage in a dialogue which is truly contemporary.
Were you creative as a child? If not, when did it all start?
TV wasn't a fixture in my home, courtesy of my parents (genuine thanks, mom and dad!) and so I read a lot, played outdoors, and kept myself busy with a rotating series of obsessions — from geology to astronomy, to chemistry, music, biology, robotics.
I experimented with so much during my childhood and it was a case of new month, new what-I-want-to-be-when-I-grow-up.
I'm grateful that I was given a platform to be curious and ask questions — I think this is the essence of creativity. I've often spoken about "looking at the world as if seeing it for the first time" as a creative approach, and I think this childlike approach to creativity lies deeply embedded in my work.
Have you had formal training in sculpture? Is this essential for a career as an artist?
I have a degree in Fine Art from Wits University. I would say this translates at best to a good foundation in the artistic presentation of work through talks and texts, and in the analytical reading of critical texts. This does not equate to the formation of a sincere and engaged studio practice, and I would say anything I have really learnt about sculpture has come in the making.
I would recommend the book Art & Fear: Observations on the Perils (and Rewards) of Artmaking by David Bayles and Ted Orland to anyone looking for a more nuanced unpacking of whether they need a formal degree in art. For me, it was a necessary and formative period in my journey, among many things for the frustration it caused, which led to a deepening resolve to make work — work that was my own — and to get it out into the world.
Describe yourself in five words?
A man on the move.
What or who inspires you at the moment?
Two films I watched in week one of lockdown: The Square and Parasite. The aforementioned Art and Fear book and, pre-lockdown, the energy, enthusiasm and support of my studio team (shout out to Jonothan, Dan, Israel and Dean).
What's the most recent art or decor object you have bought?
Works by Nabeeha Mohammed and Pebofatso Mokoena.
What is a typical day in your life as a sculpter?
No two days are the same, but a rough structure would look something like this: Early morning workout and journalling before making my way to the studio in Victoria Yards by 8.30. I then liaise with my team and make sure everyone is set for the day. I also check if there's any pressing admin to be done or materials that need to be bought.
I'll often sit for an hour or two, or even a whole morning, to work through sketches and technical plans for future works, as well as contemplating titles and working on texts and research.
I usually take the first opportunity I can to change into a dirty set of studio clothes and get stuck in to a piece myself. While doing this I'll take hands-free calls, listen to podcasts and audiobooks, or simply chat with the team while music plays in the background. We have multiple stations or "material departments" in the studio run by the very capable individuals in my team, and this also allows me to float between projects as I'm needed.
There are plenty of late nights with many deadlines, but a good day means locking up at around 5pm and heading out for dinner with friends or family.
• Visit chrissoalart.tumblr.com to see more of Soal's work.
