Why have you chosen to remain anonymous?

When it all began, I was hesitant to put myself out there purely because I didn’t want my professional life to be influenced by the creative side. In turn I came to appreciate that what I was doing had nothing to do with me, but more so with a want to envoke possibility, and positive thoughts in the eye of the beholder. My anonymity has allowed me to explore this even further, and to relay a message without knowledge of who the messenger is. In other words, I wanted people to focus on what was being said, and not on who was saying it.

I don’t really see anonymity as an advantage or disadvantage. It’s just about finding happiness, and living positive existence. Any disadvantage could only revolve around ego, and I hope that my work is far from that. Be happy, know who you are, and welcome the good things. That’s me!

How does you experience, and perception, of South Africa inform your work?

The South African landscape is undergoing major changes. I have chosen to appreciate that we are children in the grand scheme of things and we will grow up in our own time, and to the best of our ability. Right now, I hope to bring the world to South Africa through my work. My subject matter and composition is truly timeless and part of the global pop culture. Hopefully it evokes a smile and turns on the lights. I anticipate, though, that a time will come when I will use the positivity in my work, and I will share South Africa with the world.

How is the title Don’t Blink reflected in the works on show?

The show is reflected in the individual works as well as in the suggested collections within. Don’t Blinkis essentially my analysis of life and its supremely fast pace. If we blink we miss. And by the way I’m not suggesting that any of that is negative – I’m just helping to capture life in my paintings so there’s a timeline or story being told across the works.

How do the series’ fit in with the overall concept?

There are definitely certain works that should be grouped together. You should be able see some images coming in and fading out through a select number of works. For example, Mahatma Gandhi is featured in a single piece. That suggests a time no longer here. But according to my short career, I think it would be remiss of me to have left him out. He was my beginning.

How is the work a progression from your previous work in terms of meaning?

Strangely enough, if you look at the first exhibition, it was about iconic nostalgia. This exhibition lends itself to a far broader look which includes iconography but doesn’t sing praise to those icons. If anything it shows how important it is to remember but to also embrace what is, and what is coming. Meaning is irrelevant. I want you as the viewer to attach a meaning. My works mean one thing to me, but that should not influence the viewer. I want everyone to draw their own conclusions.

How is the work a progression from your previous work in terms of technical application and process?

Technically I am definitely spreading my wings a little more. I am far more confident to experiment and feel that every piece is done with pride and a fuck load of happiness. There is truly no negativity attached to anything I have done. I am not going to discuss my ‘tortured soul’ because I don’t have one. Let the work speak for itself.

What have you learned from your amazing year and a half since your last solo?

I’ve certainly made changes this past 18 months. To start I have officially become a full-time artist and finally renounced my professionalism. The weird thing is I always worry that there aren’t enough ideas spinning around in this head of mine but somehow I believe that a positive imagination is uncontained and if I can bring a smile to my face, I know I can do it to you too.