99 Perspective on Style, Strategy, and Storytelling
Interview by Anastatia Nkhuna
Sinenhlanhla Chauke is the founder and Director of Studio 99 Perspective, a multidisciplinary freelance art director and illustrator with a deep passion for crafting visually, colourful and captivating work.
He has worked with many clients which include Adidas , Columbia Records , Future Life and PieMan , Puma South Africa , Remy Martin , Sony Music , Woolworths, YoMzansi and many more.
You speak about your introduction to art quite fondly growing up and seeing art that was painted on barbershops, spaza’a and hand-painted signage. What steps did you have to take to create your own style and personality in your work because your style combines futuristic and retro elements, what draws you to this fusion?
I grew up in KaNyamazane, in Nelspruit Mpumalanga, where there weren’t many creative spaces, so I found inspiration in everyday visuals, like the hand-painted signs on barbershops and spaza shops. That’s where I first saw that creativity could exist in public, accessible ways, even if no one around me spoke about art as a real career.
High school opened things up for me, I joined cultural activities and learned about visual art, music, poetry, and more through my teachers. That exposure helped shape my perspective and style.
My work now blends retro and futuristic elements, and while I feel comfortable in my current style, I’m always evolving. The pandemic gave me space to reflect deeply on the kind of stories I want to tell and the emotions I want to evoke. I’m still open to change, new influences, and different ways of seeing and making.
Your work is always adaptable to movement and animation , how has your work transcended with different projects? (mention a few)
For me, the studio is a space to expand, not just to create in one format, but to explore how art can live across different mediums. People consume content in so many ways, some read magazines, others are on social media, and some still buy newspapers. So I’m interested in adapting my work to meet those nuances and create a more layered experience.
That kind of adaptability helps with growth, it puts more eyes on the work and opens up opportunities for new clients and collaborators. I’m also integrating elements like animation and strategic storytelling, including copywriting, to build stronger narratives. At the same time, I try to keep things simple. I’d rather leave space for viewers to interpret the work themselves than over-explain it.
When it comes to commissioned work , what approach do you take to get clients or has it been a matter of them approaching you ? (mention how you find the business?
I think it’s really important to position yourself clearly, so that when clients or collaborators approach you, they know the level of intention, standard, and uniqueness you bring. A lot of the work isn’t just creative, it’s admin-heavy. There’s emailing, meetings, alignment, and a lot of deep thinking before you even begin creating.
Sometimes I approach clients, and sometimes they come to me. But regardless, there’s always a lot of backend work to ensure the vision is clear and everyone’s aligned. I really enjoy that early interrogation stage, asking: What is this action? Could it be deeper? Could I stretch the idea beyond what’s expected? Often clients have a concept, but they can’t always see the scale of what it could become. That’s where I come in, to offer a broader perspective or a stronger strategy.
It’s also crucial for artists to know their worth and learn how to negotiate. Do your research. Ask questions. A lot of emerging artists don’t realise the value of their time and creative input. If a client reaches out, it means they already see something valuable in your work, so own that. And don’t be afraid to talk to other artists about pricing and process. We need to build a culture of transparency and support, especially from those of us who’ve been in the game a bit longer.
And on the flip side when a client doesn’t see the value in your work, or when their budget doesn’t match the scale of what they’re asking for? It’s hard, but I’ve learned to say no when it’s not worth it. Like, if someone wants to use your design on billboards but they’re offering a spaza shop signage budget, it’s okay to walk away. The opportunity isn’t worth it if it compromises your value.
Do you love to create work for the purpose of passion?
I think passion fuels purpose. My personal projects are where I get to really experiment and grow, they don’t have deadlines, so there’s space to play, to refine my technique, and to push my style further. That’s where I explore things like character design, environment building, lighting, and storytelling.
The paid work, on the other hand, has structure and timelines, but it benefits from the skills I develop through the passion projects. Both are equally important, one sharpens my craft, the other sustains my practice. They feed into each other.
Your work depicts african & cultural narratives , take us through your creative process and how you reference your symbols and visual motifs?
A lot of my inspiration comes from simply living, listening to people, observing the world, and taking it all in. I believe life is the richest source of reference. Whether it’s seeing a motif in Swaziland or visiting a gallery, those real-world experiences help me shape my own visual language. I often record voice notes, take photos, and reflect on what resonated with me, what I might reinterpret in my own work.
Referencing is a key part of my process but it has to be done with care and respect. Especially when drawing from cultural symbols or histories, it’s important to be accurate, intentional, and avoid misrepresentation. You have to understand before you reimagine.
I love the early stages of the creative process reading the brief, asking questions, mind mapping, gathering references. That’s where the real play happens. I keep a reference folder divided by genre and theme, which makes it easy to tap into ideas quickly. And I always remind myself: digital references are great, but nothing replaces real-life inspiration, traveling, hiking, being in community. Those experiences feed the work in ways the internet never could.
How do you see your art contributing to broader conversations about identity, culture, or sustainability?
I believe my work, and my story fills a gap in the art world. It builds a narrative that says: you can pursue art full-time, you can be successful, and your story matters.
There are so many untapped and unseen artists across the country, kids in places like Limpopo or the North West who may never get the same access or opportunities as those in big cities like Johannesburg or Durban. It’s rare to see successful artists from smaller towns or townships, and that’s something I want to challenge.
The more people like me enter the industry and speak up, the more the narrative shifts. It’s not just about moving forward and forgetting where you come from, it’s about creating visibility and pushing for programs and systems that support young talent across the country. It’s a bigger conversation, even about funding and government support, but it starts with us showing up and making space.
