In a world brimming with artistic wonders, we often find ourselves captivated by the stories and creations of exceptional individuals who dare to challenge the conventional boundaries of art. Sana King, a Johannesburg-based poet turned self-taught multi-disciplinary artist, is one such visionary.

With an innate ability to seamlessly weave words and colours, Sana's artistry transcends traditional mediums, beckoning us to explore the realms of fear, spirituality, and the profound healing power of creativity.

In this exclusive interview, we delve into the depths of Sana King's artistic journey, tracing the threads that connect her poetry and painting. Join us as we unravel the enigmatic tapestry of her imagination, discovering the inspirations, motivations, and transformative experiences that have shaped her unique voice in the contemporary art scene. 

From her beginnings as a young poet seeking solace in verses to her bold exploration of painting as a form of personal therapy, Sana's story is a testament to the resilience of the human spirit and the boundless possibilities of artistic expression.

My journey with fine arts has been quite an interesting one. I am a poet and that's how I’ve always engaged with making art. I didn’t know there was something called fine arts until I first enrolled at Wits University for a BA in Fine arts. Initially, I wanted to become a teacher but my mother wanted me to be an actuarial scientist. 

Fine Arts was one of the options I included when applying at Wits, the application wouldn't go through with just one choice so I had to put other options. At that time I didn’t look into what Fine Arts was, I just wanted my application to go through. Out of all the choices I applied for, I only got accepted for Fine arts. 

When I started the degree I was happy to discover that photography was part of fine arts because I already had a foundation in photography and had been taking pictures. There were then other mediums I didn’t know about that I got to learn at Wits.

I had always admired paintings and painting as a practice, I thought it looked therapeutic and that it was something I would do later in my life for therapy purposes as a rich housewife but had never done it before. Being in an institution with students that did art at school was scary, they knew what they were doing and were so good in their practices. Seeing this made me self-conscious, I felt lost and uninformed. I then developed a fear for painting, I was scared I was going to mess it up and that I could not put onto the canvas what I see in my head. 

Three years into the degree I developed a painting practice, style, and language. The practice started as a confrontation with my fear of painting and as a different way or medium of writing poetry.  I was amazed by how beautiful the work looked and the process of making it was more than therapeutic. The consistent practice had so much to offer, I couldn’t help but keep going, and that's how I got here today. 

My painting praxis is a spiritual one, my guides collaborate with me for the work to physically manifest. The process of making the work is not premeditated or calculated, intuition and improvisation are important elements I operate with. However, there are methodologies I practice to feel connected to my guides and myself so the work can happen. I only go as far as making the canvases but when it comes to the making of the work, I allow myself to become a vessel and then everything happens on its own. I feel the same about the development of my poetry. 

As a creative, I rely on creativity to inspire me. I see creativity in everything; in nature, in artifacts, in music, in poetry, in the way I keep my place together, in the way I dress, cook, and live. When I don’t feel inspired it’s because I’m not looking or because I am not in alignment. I rely on practicing healing methodologies to bring me back to alignment so creation can continue taking place. When my story doesn’t inspire me, stories of other people do. 

Not all criticism is constructive. If the criticism I get does not build me, I don’t internalise it. Art practice is sensitive, sensitive to energy, inspiration, discipline, criticism et cetera, if one gives away their power to the opinions of others then one’s practice will not be sustainable. I am okay with people’s rejection because I am aware that my art does not cater to everyone. 

Iphupho Lika Sana II which translates to Sana’s Dream is from the series When Are Dreams Grievable? Which is a body of work I made to talk about dreams and aspirations we develop from a young age that we hope to achieve as adults. As we grow up we are faced with the reality of making peace by putting some of our dreams to rest because of realising that they are not attainable due to our lives taking a different turn. 

Putting these dreams to rest is not always easy and we don’t always know when to do it and this is exactly what the series is enquiring about. Asking when to begin to grieve the dreams we were unable to fulfill.

The series is inspired by the bus photographs I took as a way of negotiating and making peace with one of my earliest childhood dreams of becoming a bus driver not coming to a realisation because of the turn my life took. The artwork employs mapping as a way to locate places and represent imaginary bus routes my bus would have taken had I become a bus driver.

The themes in my art speak to challenges that are now facing society, making the work relevant and meaningful to people who live in these times. 

This is a task, I must say. I am currently pursuing my MA in Fine Arts, and the finance and implementation of my research ideas are heavily reliant on the business element of my profession. Because I am new in the industry, I am learning as I go; nevertheless, there is very little information available on how to create the commercial component of the career. While continually honing my craft, I'm doing my best to share my work. 

As a full-time practicing artist, all my time is devoted to my art, which necessitates that I find a way to support both my living and the sustainability of my practice. This necessitates the art to generate revenue; the difficulty is doing it in a sustainable manner. 

After my group exhibition with Origin Art concluded a few days ago, I am back in the studio creating work while organising my next shows and working on my MA Practice.

I see my art expanding into different mediums like printmaking, sculpture, the use of text, and sonic and video installations whilst still encouraging healing and repair, which are the fundamental themes in my work across disciplines. I also see myself doing mural work to reach a wider audience. 

Sana King's artistic journey serves as a testament to the transformative power of creativity. From confronting her fear of painting to embracing her calling as a vessel for her guides, she navigates the intricacies of her craft with an intuitive touch. 

Through her vibrant paintings and poignant poetry, she invites us to find inspiration in the every day and seek solace in the healing power of art. As Sana continues to explore new mediums and push the boundaries of her expression, we can only anticipate the captivating narratives and profound emotions that await us on her artistic path. 

Embark on this journey with Sana King, and let her art be a guiding light in your own quest for self-discovery and creative fulfillment.