THE REAL HEROES - RISING STAR CLINT STRYDOM shoots and scores with 2010 FIFA World Cup Art

It is always exciting to stumble over a new talent like Clint Strydom, but it is not often that such photographic prowess grows silently in the background, away from the media centres of the world… and then explodes with such a distinctly fresh approach.

Fellow colleagues, the photography of Clint Strydom is at the cusp of going super-nova, and he’s been in our back yard all the time!

Indeed it was a bit of a shock witnessing the opening of Clint’s first exhibition in Cape Town at the Bell-Roberts Gallery, as I have known of Clint’s growing reputation for years, but was not quite so prepared for the clarity of vision and utterly unromantic approach to his subject matter of rural and otherwise impoverished children playing their hearts out on surf-swept beaches: THE REAL HEROES, one of the 2010 FIFA World Cup’s Fine Art projects.

The German’s don’t know what is going to hit them next year! No. The stark black-and-white images are arresting and diverse in composition and movement. There is no tear jerking sympathy. Only the bravado, friendship and pride of these youths are represented here. Boys living out the dreams they arguably should be dreaming at their age - unfettered by the material culture that the developed world would otherwise have them dream. This is their life, just as it would be if they were professional players.

Now any sport is made interesting purely by the fact that at the outset, there are no absolute guarantees as to the outcome. And so it is with Clint’s photos of the youths soccer “gymming”. More often than not a shot at the goal is deflected, in air, suspended or unclear as to if it is going to be a goal or not. That moment of suspense is pivotal to the success of some of the images. You keep guessing…

Others are pure graphic drama, an almost charcoal like high contrast effect that Clint has been perfecting in the eight years he has been behind the lens.

We speak with Clint after the exhibition and discuss the FIFA licensed project, his goals and future plans:

PY-TV: Were the photographs that comprise "THE REAL HEROES" shot specifically with the 2010 FIFA World Cup in mind?

CS: Yes, the project was very much inspired by the approach of the first FIFA World Cup to be held on African soil.

PY-TV: Where (precisely) were the photographs taken, and how long did you spend shooting?

CS: I am afraid I can’t give you precise co- ordinates as I consider the exact location to be part of the proprietary nature of the work. I began shooting this series about 8 months ago.

PY-TV: Top Secret then! How has the process of licensing and distribution with 2010 FIFA World Cup unfolded? Pain or pleasure?

CS: The process has been handled by 2010 Fine Art, so no pain at all from my side. In fact that’s one of the most positive parts of the 2010 Fine Art project – that we, as participating artists, have been offered this great opportunity without having had to jump through all the administrative hoops that you would normally need to clear. It’s provided us with a much better chance to focus on the work itself.

PY-TV: Are you at liberty to say what FIFA's commission on your work is? And if so, what is it?

CS: There is a royalty payment to the Global Brands Group – FIFA’s worldwide Master Licensee – on my works sold as part of the 2010 African Fine Art Collection, which is a recognition of the value that is added to the works by having them officially recognised as licensed art of the 2010 FIFA World Cup. I am not at liberty to say specifically how much that commission is, but obviously I and the other artists who have joined the project are quite comfortable with the value.

PY-TV: Are you happy with the exhibition at Bell-Roberts? Will the show move on to other venues?

CS: A Bell-Roberts exhibition in Cape Town has always been a goal for me and the photographs really work well in the space they have created so I am incredibly happy. Yes more shows are planned throughout South Africa. (See calendar at the end of the review – Ed).


PY-TV: I see that the shots can generally be divided into four main categories, SOLO ACTION, GROUP ACTION, GROUP and PORTRAIT. Was this intentional from the start, or was there some curatorial involvement in the selection of images and what has constituted the "licensed" art works?

CS: There was no curatorial involvement per se, and there was no real plan of categories. I just followed my gut!

PY-TV: How much involvement did FIFA have in the selection of the images themselves? Was there any "imposed" external consideration on commerce versus art?

CS: FIFA had to approve my final selection but had no input as to what I actually provided them.

PY-TV: Does any of the money generated go back to the communities where you shot these images?

CS: I have supported some of these communities before this project through charities like Thanda.org or directly through donations of artworks that are sold to raise funds, and will continue to do so.

PY-TV: I note a really hard edged, high-contrast black-and-white quality. How much post-production was involved in creating this aesthetic?

CS: I shoot with most of this set up on my camera and don’t need much post production.

PY-TV: Is this treatment common to your work in general?

CS:Yes

PY-TV: Forgive the technical questions but did you shoot any of the material in colour, or imagine any of it being released in colour?

CS: All the photographs were shot in RAW so even though I shot with a high contrast monochrome setup, the colour version is available if needed. I haven’t thought of releasing a colour series yet though.

PY-TV: I see all that the players are of a particular age (6-10 years old maybe?). Surely there is a wider range of youths playing soccer in the rural areas? How did you avoid being asked to shoot them?

CS: The age of the players in this series ranges from about 5 up to 23 or 24. I didn’t have to avoid photographing anyone and if someone wanted to be photographed I was more than happy to oblige

PY-TV: What are your best and worst memories of shooting this series?

CS: My best memory is being absolutely covered in kids after I finished the beachshots in the Transkei! There were no worst memories, luckily.

PY-TV: Football, in one form or another, is one of the most accessible and ancient sports in the world. At a professional level however, it is one of the largest industries in the world, and also one of the most infamous. Assuming you give a damn about soccer at a professional level, what is your view on the sport in South Africa, and its long-term, post-2010 potential for social upliftment?

CS: I dont follow the game played at pro level but I do think there is great potential for social upliftment through soccer post 2010 if the right people get involved.

PY-TV: I note you resisted the temptation to shoot anything at night or twilight. Why so?

CS: I didn't resist the temptation! The whole blurred motion set was shot at twilight.

PY-TV: Oh – of course! There is a certain sentimentality about the title "THE REAL HEROES" - I presume it refers to your subject matter, and it casts certain doubts regarding the professional teams and/or the circus of FIFA itself? Am I reading this correctly? Why are they the real heroes, and as opposed to whom?

CS: No aspersions intended. These kids are heroes amongst themselves and in their communities. Their weekend games are often the biggest games of their lives and they "gym" for it - sometimes before school, and sometimes after school, but generally everyday. It is the first time the FIFA World Cup is coming to Africa and most of these rural kids will not get to see it or even know it is here. So for now they are "The Real Heroes" and the beaches and the hills are their stadiums.

PY-TV: Coming from the KwaZulu-Natal (KZN) South Coast as you do, and notwithstanding the "post-geographical" potential of the internet to enable one to live and work wherever one chooses, do you feel you will be able to fulfill your creative potential with KZN as a base, or do you see extensive travel and/or relocation as an inevitability?

CS: I am possibly limiting myself commercially by living on the Lower South Coast, but there is a way of life here that is magic and as a family right now with my boys being 3 and 6 years I wouldn't be anywhere else in the world. Having said that though there are huge projects in the pipeline and I do not have the overheads or stresses of city life that would distract me from the projects that I really enjoy doing.

PY-TV: I note you are essentially self-taught as a photographer. Who do you count as your inspiration or gurus?

CS: I follow my own path.

PY-TV: How do you balance family life with the demands of your travels?

CS: Easily, I am at home 99% of the time!!!

PY-TV: What is next for Clint Strydom?

CS: Launching the Aston Martin photographic art series, globally.

PY-TV: WHAT???

CS: The fine print is still being drawn up, but essentially it is a license to produce limited edition abstract photographs of their ranges both old and new. The preliminary work has been done in Johannesburg at Aston Martin and we are planning for international distribution via their network of showrooms. 12 of these images are currently being exhibited at Aston Martins Design Centre in the U.K.

PY-TV: Congratulations! Good luck with that then Clint!

CS: Thank you!

THE REAL HEROES have been stunningly captured, in all their deserved glory. See them at Bell-Roberts until 20 June 2009.

Further confirmed exhibitions planned include:

Jhb launch is on 11 June at Graham’s Fine Art Gallery. Broadacres Lifestyle Centre , Fourways

Mangaung / Bloemfontein Waterfront for the FIFA Confederation Cup 2009.

Kizo Art Gallery in Gateway , Umhlanga Rocks, launch 1st and 2nd July.

2010 Fine Art is also planning a number of other local and potentially a few high-profile international exhibitions of the 2010 African Fine Art Collection – details expected to be announced in the next few weeks.