Chris Soal
Chris Soal (b. 1994) is a South African artist whose critically acclaimed sculptural practice—shaped by a Johannesburg upbringing and now based in Cape Town—has garnered international recognition for its innovative engagement with materiality, perception, and place.
Soal’s studio-based practice is sculptural in its output, working with objects and materials in ways that show not only a conceptual engagement with the contexts and histories of the objects but also reinforce the body as a site for knowledge reception and production. His works seek to make a poetic statement through the simplest of means, engaging the viewer’s spatial awareness and perceptual habits while challenging core societal preconceptions of value and hierarchy.
Through his use of discarded and mundane ephemera, such as toothpicks and bottle caps, along with concrete, rebar, electric fencing cable, sandpaper, and other industrial materials, the artist intuitively develops the familiar to the point of the uncanny. Soal’s works can be considered as a social abstraction, deeply rooted in and reflective of his upbringing in Johannesburg, South Africa.
Working symbiotically with his materials, Soal utilizes the inherent physical characteristics of the objects to transform them through processes of aggregation, combination, and erosion—seeking to foreground pressing ecological concerns by repositioning the viewer as an active agent within the contemporary environment. Despite the artificiality of his materials, his process allows them to take on biomorphic qualities or evoke natural phenomena, expressing his interest in their phenomenological qualities.
Chris Soal (b. 1994) is a South African artist whose critically acclaimed sculptural practice—shaped by a Johannesburg upbringing and now based in Cape Town—has garnered international recognition for its innovative engagement with materiality, perception, and place.
Soal’s studio-based practice is sculptural in its output, working with objects and materials in ways that show not only a conceptual engagement with the contexts and histories of the objects but also reinforce the body as a site for knowledge reception and production. His works seek to make a poetic statement through the simplest of means, engaging the viewer’s spatial awareness and perceptual habits while challenging core societal preconceptions of value and hierarchy.
Through his use of discarded and mundane ephemera, such as toothpicks and bottle caps, along with concrete, rebar, electric fencing cable, sandpaper, and other industrial materials, the artist intuitively develops the familiar to the point of the uncanny. Soal’s works can be considered as a social abstraction, deeply rooted in and reflective of his upbringing in Johannesburg, South Africa.
Working symbiotically with his materials, Soal utilizes the inherent physical characteristics of the objects to transform them through processes of aggregation, combination, and erosion—seeking to foreground pressing ecological concerns by repositioning the viewer as an active agent within the contemporary environment. Despite the artificiality of his materials, his process allows them to take on biomorphic qualities or evoke natural phenomena, expressing his interest in their phenomenological qualities.

Chris Soal, Gyre, 2022Discarded Beer Bottle Caps Threaded onto Electric Fencing Cable, held in Polyurethane Sealant on Board.122 x 122 x 5 cm
48 1/8 x 48 1/8 x 2 in
Chris Soal, By the skin of your teeth, 2022Bamboo and Birch Wood Toothpicks, held in Polyurethane Sealant on Board.
165 x 127 x 26 cm
65 x 50 x 10 1/4 in
Chris Soal, Spolia, 2022Discarded Beer Bottle Caps threaded onto Electric Fencing Cable, held in Polyurethane Sealant on Board, Glass Fibre Reinforced Concrete with Used Motor Car Oil and Rebar
142 x 146 x 14 cm
55 7/8 x 57 1/2 x 5 1/2 in
Chris Soal, Imbroglio, 2022Discarded Beer Bottle Caps threaded onto Electric Fencing Cable, held in Polyurethane Sealant on Board
187.5 x 86.5 x 12 cm
73 7/8 x 34 x 4 3/4 in
Chris Soal, Hyde, 2022Burnt and Unburnt Bamboo Toothpicks, held in Polyurethane Sealant on Ripstop Fabric, stretched on Obeche Wood Stretcher
106 x 100 x 14 cm
41 3/4 x 39 3/8 x 5 1/2 in
Chris Soal, La Peau de Chagrin, 2022Eroded Sandpaper
61 x 53 cm
24 x 20 7/8 in
- Chris Soal
- Chris Soal

















