For Collection 15, Optimism, FIELDS collaborated with Cape Town-based artist Paul Senyol on New Dawn, an original artwork translated into a series of collector’s garments. We spoke to Paul about his creative beginnings, finding beauty in everyday life and the process of bringing his work from canvas to clothing.
Beginnings and Practice
Can you tell us a little about where you grew up and how your relationship with art began?
I grew up in the northern suburbs of Cape Town, in lovely, leafy surroundings bordering a nature reserve. In my younger years, the area was better known for its rugby teams than for any creative hub or scene. But many of my friends were creative in different ways, and we were always on the edge of what was considered normal or acceptable by society. We were all very comfortable with that and spent a lot of time outdoors and in nature, exploring and having fun.
Skateboarding magazines and street culture were an early gateway into making art for you. What first captured your imagination, and what influence do they still have on your work today?
Skateboarding was definitely my first exposure to something creative, both as a lifestyle and as a way of looking at the world around you differently. It introduced me to a way of seeing, I suppose: noticing details and interesting spaces in which to practise the craft, creativity and play of skateboarding.
Through the magazines and media of the time, I was exposed to design and art. I realised that painting and creativity could be taken seriously, but that they didn’t need to conform to the way they were taught in schools and universities. Some of the first creatives I admired were crossing over from skateboarding into gallery shows and painting on the streets. Artists such as Ed Templeton, Barry McGee and Mark Gonzales. I first encountered their work in skate magazines, which made me more interested in the arts.
I would go down to the local library and find books about art. It didn’t really matter what kind of art at the time. I began educating myself, not from a technical perspective, but through a sense of capturing beauty.
I’m still very much on that journey of learning, which I enjoy. I’m self-taught and continue to teach myself, exploring and learning as I go. I still return to those early references while continuing to broaden my horizons.
Your work often begins with details encountered in everyday life. What are you noticing at the moment?
At the moment, I’m looking forward to the change of season and the coming of spring, as nature begins to unfold again and takes a deep breath after winter. Colours and shapes are always catching my eye. I’m currently working on a new body of work titled Equinox, which captures some of what I’m feeling and experiencing at the moment.
How does living and working in Cape Town shape your visual language?
I have a fairly consistent daily routine and am familiar with my surroundings. Even though there is a certain rhythm and familiarity to daily life, the challenge is to notice the subtle differences and details along the way. Observation is the artist’s best friend. Cape Town has a rich, intertwined urban and natural environment, with the two constantly overlapping. I draw a great deal of inspiration from those margins and intersections.
The FIELDS Collaboration
What interested you about working with FIELDS and allowing your artwork to enter the world of clothing?
The brand caught my eye a couple of years ago. I think it was during COVID-19 when I first came across FIELDS online. My initial thought was, “Wow, this is something very unique and different.” From the garments themselves to the way FIELDS works with artists, the brand felt very fresh and interesting.
If there were ever a dream collaboration, it would be with FIELDS. The quality and workmanship are second to none, and when the opportunity arose for us to work together, there was a very special meeting of minds. I didn’t have to think twice.
I love the idea of taking something painted and beautiful and turning it into an everyday experience through a garment. It is as though my artwork is moving through the city and the outdoors, becoming a reflection of my mind and thoughts within a very real environment. The garments feel like an extension of an art exhibition.
How did you approach translating your visual language from the surface of a painting onto a garment?
When Mikael and I first met to discuss the collaboration, he showed me lookbooks from previous FIELDS seasons. We had the idea to create a collage using the lookbooks as a starting point. I took them apart and played with shapes, compositions, colours and forms until we arrived at something I could translate into a compositional sketch. Once we were happy with its direction, we began planning and plotting the colours and details. This eventually became the final painted piece.
Was there a particular work, detail or idea that became the starting point for the collaboration?
We wanted to embrace optimism and positivity by creating an artwork that felt fun and playful. Choosing colours and linework that evoked those feelings was where the journey began.
What do you hope someone notices or feels when wearing one of the pieces?
The details of the garments are quite special. The way the fabric is woven really tells the story of colour. My hope is that the garments bring a moment of joy and playfulness to someone’s day, and that they become pieces people look forward to wearing. I want the wearer to feel comfortable and confident in the expression the garments bring to their wardrobe.
FIELDS’ new collection is titled Optimism. What does optimism mean to you personally?
I want to make beautiful things and make things beautiful. To me, optimism means finding beauty in everyday moments and environments. It means taking notice of the details.
A Considered Life
What does a typical morning look like before you head to the studio?
I wake up early, earlier than most, and head out on my bicycle for an hour or so to get some fresh air and exercise. In summer, I catch the sun as it rises. In winter, I embrace the moonrise, darkness and shadows at play.
When I return from my ride, I get the tea, coffee and rusks going. Then, as a family, we begin our day together with devotion and time to contemplate the day ahead. This daily routine and rhythm help me set the tone for what is to come.
I’m usually in the studio at around 08h00. I find that I do my best work early in the day, whether I’m developing sketches and compositions or painting on canvas. At around 11h00, I take a short break for coffee and brunch before working again until lunchtime. Depending on my workload and productivity, I’ll usually take some time to nap, rest and relax before returning to painting in the late afternoon.
What are you listening to, looking at or reading at the moment?
I don’t listen to much music while working. I find that it can be distracting and can flow into the work a little too much, but I do enjoy a good podcast.
During cycling season, I listen to The Cycling Podcast, as well as Andrew Huberman’s podcast on health and wellness. I find that having a conversation playing in the background can be very soothing.
As for print, I’m slowly working my way through my National Geographic subscription, The Creative Act by Rick Rubin, and a travel guide to Italy published in 1950.
Where do you go when you need a shift in perspective?
We try our best to take a break every quarter, usually travelling up the West Coast to visit my family. While I’m there, I try not to become involved in anything creative beyond picking up objects on the beach and taking photographs. It gives me the space to reset and breathe. These resets are very good for me creatively, and I always return to the studio feeling refreshed and ready for the next few weeks.
On a week-to-week basis, if I begin to feel stuck on a project or with my work, I take a day off and ride my bicycle as far away from the studio as I can. Even a short break like that can be very helpful and refreshing.
What are you currently curious about?
I recently bought a book of maritime paintings by Edward Hopper from our local second-hand bookshop. It really is fantastic. He had such a good eye for colour and composition, and the ability to make very ordinary landscapes feel timeless.
I’m interested in making work that stands the test of time. I don’t always succeed in this, but the idea inspires me to approach my work with more time and care. I want to paint with less hurry and in a more engaged and meaningful way.
What are you optimistic about right now?
I’m looking forward to longer, warmer, sunnier days. I’m optimistic about finding inspiration, peace and joy in everyday life, and making time for the moments that matter to me, my family and my friends.
Images by: Liam and Cari de Scally
The artwork by Paul Senyol is part of the FIELDS Artist Collaboration Series, an ongoing exploration of creativity across disciplines.
The collection includes:
- FIELDS x Paul Senyol Sweater in Wool & Mohair
- FIELDS x Paul Senyol Tote in Cotton
- FIELDS x Paul Senyol light bamboo and cotton socks
with more from the collaboration to follow.