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"As you work with clay, you will feel when it needs water or has too much water – it's almost like tending to a child, in the way that you need to listen but also guide it to what it can be," says Sasol New Signatures 2025 winner Juandré van Eck.
We were enchanted by Van Eck's work Waters of life, for which he won a merit award for Sasol New Signatures 2024. With his piece Cycles of the mind, Van Eck refines the thinking and process behind his work to deliver one of the most curiously engaging artworks in recent years of the Sasol New Signatures competition.
Looking at the artwork, you would be forgiven for thinking it is simply a well-crafted and slightly odd-looking ceramic work. It is once you step closer and touch the work that the magic begins. The two vessels are attached to a wooden plank, and, as you tilt this, water flows from one chamber to the other and a whistling sound emanates from the work. It is deceptively simple, much like the breath it mimics, but we were quickly absorbed, tuning in to the subtle vibrational changes beneath our fingers and the shifts in pitch and tone as we tilted it from one side to the other.
Aside from wondering how Van Eck got the idea for his artwork, we spoke to him find out more about his process and what it means to be the winner of Sasol New Signatures 2025.
Your first thoughts on hearing you had won the Sasol New Signatures 2025 art competition?
My first thought was how blessed I am to have gotten here, and that it is all thanks to my heavenly father and the support of my family. I was also in disbelief! Hundreds of thoughts were running through my head about what it means to have this chance to do a solo.
You entered in 2024 and were placed among the top seven. What made you want to enter again?
My second time entering was mainly just because I wanted to put my work out there and share it with others. I thought my chances of being in the top seven again were zero! But I entered as a way to still share my passion with the public.
"Interactive works make you aware of the moment you're in and make you feel like part of something bigger. The world is serious, so giving a free pass to our inner child to come out through an interactive work feels more socially acceptable." – Juandré van Eck
Tell us about your winning work. What sparked the concept?
My winning work was made as part of my practice of making art during my art therapy sessions. In these sessions, I can be honest with myself and make ceramics that reflect my feelings. In the making of this piece, I was really aware of the fact that I don't always communicate my emotions and that I suppress them. So, as a reminder that I still have a voice, I made this piece to talk for me. At the same time, I don't want it to seem too serious, and I want to invite play.
It’s wonderful to see how you've taken your concept further – and leaned more into your own aesthetic and visual style. What has the last year of artistic exploration entailed for you?
My concept is more personal this time around compared to last year. I'm not trying to solve a major problem; rather, I am focused on meditation and my own art therapy. This includes just making shapes that make me happy, and to create without the fear of being judged. They are made to bring joy, or to be my voice, or another voice.
My current aesthetic is in nature, and I'm zooming into plant life, like spikes or thorns – not really something specific, but rather an abstract representation led by artistic instinct. I don't really make art with the idea of selling; I make it with the idea of sharing. But yes, it's true that my work does sell, and as an artist, I also need my work to sell. However, I hope that my emotions and need to share are felt, and it is not just a cold sale when people buy my work – a part of myself has gone into it.
In the last year, I’ve been able to make without fear, and I have been exploring sound and what it means to me. These art therapy sessions are not only important to me but also fun, connecting me to my inner child playing with mud.
"I am not only an artist but also just a proud maker, seeing what makes me happy make someone else happy when they play with it." – Juandré van Eck
Like last year's winner, Miné Kleynhans, your work is interactive – inviting audience participation. Why do you feel that art of this nature strikes a chord right now?
I think in the age of fast living that we're in, and the age of AI and synthetic things, there is more of a need to calm down and ground ourselves. Interactive works make you aware of the moment you're in and make you feel like part of something bigger. The world is serious, so giving a free pass to our inner child to come out through an interactive work feels more socially acceptable.
Tell us about the troubleshooting you had to do in order to end up with a working model?
Last year's artwork, in 2024, was my first attempt at making a working model. Even I was shocked when it actually worked! But since then, I have been on a journey of problem-solving. I have learned 'tricks' to get the effect I want, and going a bit bigger in size, I had to change my clay body as I was starting to get unpredictable cracks. I also had to go on a journey to find the right glaze to fit my clay body so that it was watertight. Each piece I make, I learn some more, and I feel that my work for my solo will be better than my winning piece from this year. I have lost so many pieces – explosions, cracks, crazing, glaze blockage, and soundless pieces – but I never get down for long. I just keep at it because it is not only the end product that matters to me, but also the journey that is important.
"I hope that when someone plays with my work, they can take a moment to calm down and centre themselves, breathe in and out, and be present in the moment." – Juandré van Eck
Engaging with the piece elicited a sense of wonder in us – which can be strangely elusive in the art world. What do you hope this piece will draw out from the audience?
I hope for the sense of play. My work is a multi-sensory thing, and a hearing-impaired person can enjoy the tactile nature of my work, which includes the movement and vibrations. A visually impaired person can also enjoy the tactile nature and the sound. I hope that when someone interacts with my artwork, they can take a moment to calm down and centre themselves, breathe in and out, and be present in the moment. I use my own work after it's been fired as a meditation tool. When I enter my studio in the morning, I will sometimes spend quite a bit of time just playing with the artwork and enjoying the sounds until I feel ready to make art.
What is it about the medium of clay that draws you, in particular?
For me, I love to use clay because, in a world run by plastic, clay feels like the most natural art medium. Working in clay is a constant relationship of listening, as clay will tell you when it's tired and needs you to let it rest. As you work with clay, you will feel when it needs water or has too much water – it's almost like tending to a child, in the way that you need to listen but also guide it to what it can be. Clay is, for me, a symbol of hope for a second chance. When a pot fails, it's not lost. It can be reworked, and in the tough times in the fire, it becomes stronger than it was before – a testament to growth.
Did any of the responses to your ceramic work surprise or intrigue you?
Yes, that moment, that very special moment when someone new walks in and sees my work. Looking at it for the first time, seeing their hands take hold of the artwork, not knowing what to expect, and seeing their faces light up as they enjoy interacting with it. In that moment, I am not only an artist but also just a proud maker, seeing what makes me happy make someone else happy too.
As a Gqeberha artist – how has place shaped your work in any way?
I think because art is not such a big thing here in Gqeberha, as it is in Joburg and Pretoria or Cape Town, it allows Gqeberha artists to really form their own style and voice. We can make what is important to us, and we are a mixed bowl of techniques and styles, forming over time.
We'd love to hear your impressions on the variety of works that made it through to the final 2025 exhibition. Anything stand out for you?
Yes, the work of Hannah Mae Silcock with the sound basin. You stand in front of the video and place your hand on the basin. As this got broken on the video, I felt the vibrations, and this made me feel part of the video. It captured my attention and held me in place for about half an hour. I felt connected to it as soon as I placed my hand on the basin, and my heart sank into the sounds. I'm sure if they keep doing what they're doing, we will see them again in the top 100 at the Pretoria Art Museum, and I really hope to see more of their work.
There is also the work of Viola Greyling called Suspending and Evolving. I see so much in her work. I talked to her at the art museum, and I was blown away by her passion. I wanted to touch these stalagmites and stalactites so badly and had to hold myself back. It would be amazing to see her work again next year with something like a sound recording of water, or even including some sort of tactile element like water running over the artwork. Even just her use of colour spoke to me, as the complexity of the evolution of one's self in time.
What's been the most gratifying or interesting part of this experience, so far?
Meeting other artists and seeing how they are speaking using their work. Also, seeing the passion of the Sasol team for art and artists, and just people in general. It also feels unreal to be able to share my passion with people.
What are your reflections on the Sasol New Signatures art competition, more broadly, as a springboard for South African artists?
I think it's amazing, even if you don't make it into the top 100, the Sasol team gives you feedback if you ask for it. They want you to be at your best. Receiving an award from Sasol is an incredible achievement and helps launch your career as a South African artist.
How do you feel about the prospect of presenting a solo at the Pretoria Art Museum in 2026? Have you got any inkling of what you might explore?
I'm so excited for the chance to do my solo, and I want a clear sign to say "please do touch". Exploring interactive works in larger and smaller scales would be amazing, as some smaller, more intimate pieces will feel more comfortable. And all in all, I wish to share an experience and to share the joy of sound.
Find out more about all the award winners of Sasol New Signatures 2025 here. And see Juandré van Eck's work alongside all 106 finalists at the Sasol New Signatures 2025 exhibition at the Pretoria Art Museum until Sun, Nov 2, 2025. Showing concurrently is 2024's Sasol New Signatures winner, Miné Kleynhans' solo Augury After Autogogues.
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