Plein Air Extraordinaire: Interview with South African Artist Jacques Viljoen

I had the absolute pleasure of spending an afternoon with Jacques Viljoen on our rooftop at The Deckle Edge, where he painted the breathtaking view of Devil’s Peak, Table Mountain, and the rooftops of Salt River in preparation for our upcoming plein air workshop. Jacques, whose work is rooted in contemporary realism, was incredibly generous with his time and knowledge, and I walked away with some amazing new insights—making it clear that this is a workshop you won’t want to miss! I’m also now the proud owner of the beautiful painting I watched him create that day. Afterward, we continued chatting via email, where he shared even more about his love for plein air painting, his go-to materials, and his unique approach to capturing the world around him.

Deckle Edge: You’ve lived in some pretty amazing places—Cape Town, London, Florence. How have these spots influenced not just your art but who you are as a person? Any fun stories from your travels?

Jacques: Living in London in my 20s exposed me to different kind of art to which we have here. I could pop into

places like the Tate Britain (the 1890s room is my favourite room in the world) and The National Gallery during my lunch break. This was around the time that Instagram was emerging, which exposed me to a whole world of representational artists, working from life and producing contemporary paintings, while studying the very same masters I was seeing in museums and galleries in Europe. It made me realise that art is so much more than what I was led to believe and that there is no one answer for how to approach one’s practice, but that way was the way for me.

Moving to Florence was a whole nother matter: I’d never seen people so in love with making art, it’s all anyone could talk about. The city itself is a work of art and there is lots of it, so it’s quite the immersive experience. That experience confirmed that I was on the right path and making art that was a true and authentic expression of myself. If someone tells you not to make art a certain way or of a certain thing, they are denying you the right to be yourself, and I don’t think there is any point in pursuing the life of an artist without authenticity.

Deckle Edge: You’re known for painting directly from life, without relying on photography. Why is this method so essential for you? Does it feel like you’re capturing something special that a camera just can’t?

Jacques: Working from life is both a conceptual and visual choice. If one uses a camera, one is abdicating one’s connection to the subject matter to a mechanical intermediary, which distorts reality in its own way. If you work from a photo, you are no longer representing your subject, but a photo of your subject: you’re representing a photo of something, not the thing itself.

Cameras also distort reality in a number of ways, be it the lens distortion or colour distortion. This is never the same as how a living, breathing human experiences the world and remnants of the photograph always creeps into one’s work, no matter how good one is.

When working from a photo one has two options: copy the photo and retain all the distortions of the camera, or use one’s knowledge of how the human eye and brain interpret light and apply that to your reference. The second option is a lot more difficult and requires extensive experience working from life anyway. A trained eye can always catch when a photograph was used as a reference, even by the best painters in the world who switch between working from photos and life. Learning to draw by copying photographs can also hinder your progression and cause distortions in your drawing. Core concepts like mass and volume aren’t as readily apparent when working from photos for example.

I also feel that the rise of AI art has given working from life more importance. Image creation  is now the realm of AI, so why compete with it? AI can copy a photo or make art in a painterly style, but cannot ever replace me. A work made from life represents one’s entire life distilled into a specific time and place – a relic and affirmation of one’s existence.

No matter how many pixels it’s made of, a photograph is finite while reality is infinite. One cannot copy reality but only interpret it. Reality is infinite and unreachable, an endless variety that is filtered through by the unity of self; a perfect allegory for painting which in essence no more than the variety on the picture plane with the unity of the canvas.

The most important thing is that I want to feel directly connected to people, places and things without an intermediary. I want to be present and feel alive, outdoors with the sun on my face, or in my studio with good company. My entire being, my history, practice, faults and talents all coalesce around a singular point in time and space, inhabited by me and only me.

That’s what I marvel at when seeing a Sorella, Monet or Sarggent: that artist was here, in that spot and at that time.

Deckle Edge: Plein air painting sounds like quite an adventure—battling the elements, chasing the light. How do you keep your cool in those moments, and what’s the most rewarding part of it all?

Jacques: For me it is more about the process than the finished artwork. It’s how I am spending my time that matters to me. I really do feel present, connected and content, very aware that my entire life’s experiences are flowing through my brushes at that moment. Cape Town is also one of the most beautiful cities on earth, so why would one not want to make the most of it?

The only thing that really rattles me are other people, who can be quite rude and often feel the need to press their own projections of what they think art should be. It can be quite frustrating dealing with people while you’re trying to focus, which is why I prefer to work alone in nature away from crowds.

Deckle Edge: For someone wanting to dive into plein air painting, what art supplies would you say are must-haves? And be honest, is there anything you just can’t live without when you’re out there in the field?

Jacques: It’s easy to forget that when painting you are making an object, not just an image, that someone else may treasure someday and that holds monetary value. So, I feel that a good artwork deserves to be made from the best materials, as much out of respect for its future owner as for myself. Oil paint is a three-dimensional thing and the quality of one’s paint can make a huge difference to the final work. This is why it’s worth investing in good paint. The better brands like Schmincke Mussini and Norma have a consistent viscosity and are stable enough to use in impastos.

Apart from my plein air painting gear and set-up – which has been refined over the years so that I take only as much as I need – the thing that I’ve regretted forgetting the most is water! It’s annoying to be halfway through a painting and then realise you’re dying of thirst, halfway up Table Mountain on a summer’s day, with no water in sight.

Deckle Edge: You often talk about the importance of ‘being present’ in your work. How do you take that mindset beyond your art and apply it to your everyday life?

Jacques: I used to be a professional athlete when I was younger: the sport of fencing took me all around the world where I competed at the highest level. This taught me to shut out everything around me, leave the world behind and only focus on what was in front of me, only on what was within my control. Entering this frame of mind was a skill that translates directly to my practice and can be applied to life in general. Don’t sweat the petty stuff, I guess.

Deckle Edge: Your year-long residency at the IZIKO National Gallery sounds like a dream! How did that experience change the way you see your work and yourself as a South African artist?

Jacques: When I first contacted the gallery, I was simply looking for a way to improve my practice as I felt that studying good painting was the only way to improve myself after the pandemic cut my studies short. The residency coincided with the major show “Breaking Down The Walls” curated by Andrew Lamprecht, which meant that some of the gallery’s best paintings were on display. I got the chance to copy a Sargent, a J.J. Shannon and Laura Kight painting.

I worked in public, while people pottered around the gallery looking at work. What I quickly noticed was how individual the experience was to each person: everyone had a different opinion on the art on display and were drawn to different artworks. That’s when I realised that art is ultimately an expression of the human experience, which is almost endlessly varied. It’s okay to like ‘Seargent’ and it’s okay to like ‘Picasso’, there is no right choice.

This is why I then moved onto making figurative paintings of people interacting with work on display in some way. Either portraits from behind, or in one case, ignoring the painting entirely while walking past.

Deckle Edge: The Western Cape plays a huge role in your work. What is it about the region that pulls at your heartstrings, beyond just its visual beauty?

Jacques: The Western Cape is home to me, and home is the best place to start. I feel like I am sometimes able to represent an aspect of this place in a way that only a local could. There is something to be said about the quality of the light here in The Cape. It’s so much brighter and luminous than anywhere I’ve been. It’s something regularly remarked upon by artists and historians throughout this region’s history and many artists have tried to pin it down.

Deckle Edge: Your mother is an artist too! Do you think growing up surrounded by creativity shaped your path, or do you believe the art bug was always in your DNA regardless?

Jacques: My mother and sister are both professional ceramic artists, as was my grandmother – that’s three generations of female potters! In addition, a cousin and an aunt are practicing artists and two of my great grandparents were professional painters too. I even have some of their old paints! It does run in the family I suppose.

My parent’s house was a veritable gallery and I grew up walking through my mother’s studio every day and making art was as natural to me as breathing.

Choosing to be an artist is difficult and it was hard to accept that this was who I really was and that living the life of an artist was what I was meant to do. I spent so long running away from it, shunning art entirely after graduating from Michaelis and diving into another career.

I could have become a sculptor I guess – as I often find I’m more moved by sculpture than painting – but that would be too close to what my mother and sister do, so I chose to become a painter. Or perhaps it chose me, I’m no longer sure.

Deckle Edge: You’ve exhibited internationally, which is a big deal! What do you think makes South African art stand out in the global scene? Is there a bit of that South African magic in your own work?

Jaques: Our relative isolation means that we aren’t exposed to the quantities and variety of art that Europeans and Americans are and this has its positives and negatives, it really depends on your practice. It also makes it expensive to exhibit overseas, and I was only able to do so because I lived there at the time. Most South Africans can’t do that, so those that do find a way are usually exceptionally gifted and rare.

I think our cultural diversity is making way for a multiplicity of expressions of what it means to be South African through art right now, which means the art coming from our country is varied and interesting, especially to outsiders.

My own work is purely observational and about the here and now, so the story changes wherever I go. Since I’ve been back my art has reflected my re-embrace of this land I suppose. Even in still life, where I’ve chosen potjiekos and fynbos as subject matter.

Deckle Edge: What’s one clever tip or trick that every artist should have up their sleeve? And, is there a piece of advice you wish you had known earlier that’s really helped you along the way?

Jacques: I wish I allowed myself to make the kind of art that came naturally to me, the figurative work I did back at Westerford High School. There I had a wonderful teacher Mr Cain who let me make what I wanted and encouraged me, when other teachers told me I should do this or that. It’s okay to like one kind of art and not another. Find what you love and connect with others that share it with you. For me that is painting and drawing.

Speaking of which, painting and drawing as artforms are far too big to master alone. You have to be humble and learn from others as much as possible. Your eye will always evolve faster than your hand, causing frustration, so seek someone else out with a keener eye and listen to them. But at the same time, use your judgement and don’t listen to idiots as that will just bring you down.

It’s also okay to have other jobs and still be an artist. It’s okay to not follow a linear path in your career too. Success means different things to different people.

Deckle Edge: Being a full-time artist sounds like a dream job, but let’s talk about the business side. How do you actually make a living from your art? Is there a secret mix of pricing, marketing, or a bit of wizardry involved?

Jacques: It took me a long time to achieve my goal of living purely off my art. I started off by going freelance in my old job so I could attend workshops and make work.

I also can’t understate the importance of my time at The Florence Academy of Art, which greatly improved the quality of my art. There is no way I would be making what I am today without that rigorous training. For other people that may mean undertaking an apprenticeship or doing a master’s degree. I worked a remote job while studying too, so I think it’s not always a good idea to dive headfirst into being a full time artist.

It wasn’t until the pandemic that I had no choice but to make a living from art, so I just put my head down and got to work. I try to work as much as possible and aim for two plein air paintings a day but I’m okay with one. In winter I try to focus on still life and portraiture, which is my true love.

I have also been blessed with the aid of some amazing galleries here in Cape Town, including The Artist’s Gallery, Kalk Bay Modern and of course Chandler House. Michael Chandler has supported me since I first returned and I am lucky to have had such a close working relationship with someone like him.

People sometimes buy paintings off me on the spot or contact me directly through social media too. It is difficult though and everyone seems to have a different way of making it work.

Deckle Edge: What’s the most hilarious or bizarre thing that’s happened to you while painting outdoors? Any memorable encounters with curious passers-by?

Jacques: I’ve just had some really weird or rude comments from people. People ask me to paint them a lot, or ask what I’m painting, to which I usually just gesture at the view. I’ve had people try to correct my drawing or tell me how to paint, but the worst experience was in The Bo Kaap where an oupa parked his car in my view and got out to try and stop me from painting. Thankfully other locals came and chased him away, then brought their kids to look at my painting.

Tourists often seem to want to put me and friends down and say rude things, or say that artists back in their country are so much better. It’s weird, honestly. South Africans are chilled for the most part though.

Deckle Edge: We’re curious—what’s a typical day in your life like? Do you have a routine, or do you just let the day (and the light) take you wherever it goes?

Jacques: My best paintings are planned. So, I prefer to have scouted ahead and made a mental list of locations that I want to revisit. During summer I try to do two paintings a day, each taking two to three hours. This is either a morning session and an afternoon session, or an afternoon and evening session. I’ve been doing studies of sunsets recently, plus a few nocturnes, so my hours have been all over the place.

I also run another business, The Cape Fencing Academy, where I coach three times a week and have endless admin. We run it as if it’s a non-profit though, and I only earn money from giving individual lessons. In addition to fencing I try to go to the gym three times a week and this keeps my head in check. My physical fitness lets me focus better, especially when standing up for hours on end without taking a break.

One of my first-year teachers at the FAA very wisely told me that painters are more akin to blue collar workers, we use our bodies and carry out physical labour, so we have to look after our bodies.

Deckle Edge: Just for fun—if you weren’t an artist, what do you think you’d be doing? Any secret talents or hobbies we should know about?

Jacques: Well I’ve managed to balance three things at quite a high level: fencing, art and public relations. I guess life could have worked out differently with one of the other professions taking preference, although all three were my sole focus at some point.

I’m really enjoying coaching at my old fencing club though. I started there at 11 and now I’m coaching 11-year-olds, working alongside my first ever coach. Although I’ve retired from international events, I did win the SA senior national championships last month. I’d like my drawing to get to the same level as my fencing as I’ve found both skill trees remarkably similar, especially when it comes to precision and accuracy. Martial arts and combat sports also require a balance between instinct and intellect, which I feel is shared with painting but poorly explained or flat out ignored. If you overthink it, you’re too rigid, if you don’t think at all you’ll get sloppy.

Deckle Edge: You’ve shopped at The Deckle Edge, so spill the beans—what keeps you coming back? Is it the materials, the atmosphere, or something else that makes it special for you as an artist?

Jaques: It’s the quality and variety of products that keeps me coming back, especially canvas and linen. Deckle Edge stocks oil-primed Belgian linen, which I use exclusively for portraits and still lifes. They also stock Schmincke Mussini and Gamblin, two of the best quality oil paint brands in the world. I’m always driving around from location to location, and Woodstock happens to be near just about everything, so I often pop in just to get linseed oil or an oil paint I’m running low on.

Deckle Edge: You’ve got an exciting plein air workshop coming up on The Deckle Edge rooftop! What excites you most about teaching plein air painting, and why do you enjoy sharing your knowledge with others? We’re also hoping to offer your Masters Portrait Workshop here soon—what can people expect from that?

Jaques: I enjoy teaching and love the see people really ‘get’ something. Plein air workshops are a great way to introduce people to the very basics of oil painting and drawing and offers the opportunity for students to improve rapidly. Working fast also helps free beginners up and forces them to start working from big to small, instead of hyper focusing on small details. The result is people almost always exceed their expectations and develop skill faster than they would otherwise.

There is also the fact that these skills were nearly lost in the 20th century as they are best taught face-to-face rather than books, so passing on the skills helps preserve the artform. It also helps people better understand, appreciate and connect with art, and that’s enriching, I think.

Speaking of learning from others, the second best teacher after nature are the old masters. There is so much that can be gained from copying work by artists one loves, which is why I do master copies so often. I find that I take a small part of every artist that I copy with me, so it greatly improves my work as it will yours. That’s why we’re excited to offer a Master Copy Portrait Workshop as our next event at The Deckle Edge—date to come soon. Don’t miss the chance to learn from the greats!

Deckle Edge: Is there anying else that you would like to share?

Jacques: Join me for my upcoming 2 day Plein Air Oil Painting Workshop at The Deckle Edge on the 15th & 16th of November, I have a solo show coming up at Chandler House which will be announced very soon. There will be two waves of work released, so keep an eye on the website here: https://chandlerhouse.co.za/voorkamer/
If you want to follow my work, where I often post images of my paintings in the field, check out my Instagram: www.instagram.com/jacques.art
For landscape and portrait commission, you can get hold of me through my website, but keep in mind that I don’t work from photographs : www.jviljoen.studio