Draughtsmanship, which is defined as the ability to draw really well, is the foundation on which I believe Grecia bases his artistic signature. Fine art legends such as Henri Matisse and Andy Warhol spent a large portion of their nascent careers fully as draughtsmen; fully immersing themselves within the art of drawing in order to expand into their unique artistic styles. For Warhol that basically manifested into his pop art silkscreen technique, and for Matisse into his unique usage of shapes and colours to accompany his impeccable draughtsmanship. For Grecia, the combination lies somewhere in the middle, as he strongly possesses qualities from both artists’ sides.

Callan is extremely adept in using shape and colour to convey feeling, or situation, throughout all of his paintings. With strong contemporary references – not all necessarily artistic but also childhood memories, everyday products or designs – his work stands out as uniquely African.

I had the honour and privilege of virtually engaging Grecia and asking them some questions surrounding their introduction to the world of art, inspirations for their work, their relationship with and SMAC Gallery.

I’m Callan Grecia. I was born in Durban in 1991 and I currently live and work as an artist in George. I’m a painter but I also draw, take photos and make music when I have the time. I studied painting at Rhodes University and got my MFA in painting in 2017.

You’re one of the exciting local and upcoming contemporary fine artists at the moment. What mainly inspires the art which you make?

I paint what I know and what I want to see. 

Do you have a specific process when creating your art?

 Drawing is important to me so most of my ideas start in my journals. Sometimes they’re fully fleshed out, but most often they have to be revisited a few times. Working in monochrome helps cut through any visual distraction and I can really focus on composition and building up that specific world. It changes often though so I don’t know if I have the same specific process for every body of work, because it changes so frequently. The language shifts steadily but drawing is the one function that mostly stays the same. I’ve started drawing on my iPad now and that’s quite fun because you can punch in quicker when you have an undo button. But paper is where it’s at. I love drawing. I’ll also write down phrases in my pocket book or my notes app and those generally inform something immediately or further down the line. 

The aesthetic of your work is starkly characterised by your unique usage of colour as well as other nuanced techniques – are there any artists which you draw inspiration from? 

As many as possible. I think having a broad spectrum of visual input helps me solve faster than consistently looking at one or two artists. Painting has its own world of languages and extending your painterly vocabulary can help to convey what it really is you’re trying to say eloquently. I love Andy and Damien and Luc and Kehinde and Kerry James and Wilhelm and and and. My scope and visual input is beyond just painting though, and that just gives me more world building tools than I know what to do with (which is better than having none).

What is your relationship to SMAC Gallery? How has your relationship with them impacted your art career?

I’m currently represented by SMAC. This is a fairly recent development so I’m not sure, but so far I’m really happy with the freedom I have and with the confidence they have in my work.

Is there any advice which you could impart to any young emerging fine artists attempting to make a name for themselves within the industry?

Take your time. 

What are some of the things you are looking forward to within the remainder of 2022?

 I’m just enjoying the peace I have right now, so hopefully more of that!

/// All the images are courtesy of SMAC Gallery, except Cosmic Disco courtesy of WHATIFTHEWORLD Gallery.

Written by: Odwa Zamane