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Boytchie

@boytchie_

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South Africa /// b. 2000
@everard_read_cape_town_

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BOOK YOUR SEAT — REGISTRATION LINK IN BIO.

Introducing our next panellist for FOR US, BY US: BOYTCHIE.

A Cape Town-based contemporary artist whose work moves between painting, drawing, sculpture and installation, challenging conventions through bold expression, experimentation and social commentary.

With a practice rooted in questioning power, capitalism and the pressures of contemporary society, Boytchie brings a perspective on the role of art in challenging the systems we exist within.

His work raises an interesting question: How do we create freely and authentically in a world that increasingly places commercial value on creativity?

Join us as we explore what it means to create on the continent, on our own terms.

FOR US, BY US
Presented by VINTU as part of Design Week South Africa.

#ForUsByUs #VINTU #DesignWeekSouthAfrica taken in Cape Town, Western Cape by @boytchie_

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4 days ago

BREATH OF FIRE. 2026.
ACRYLIC, PEN, MARKER, AND RESIN ON MELAMINE BOARD. 28 x 25.5 CM.

@everard_read_cape_town_ by @boytchie_

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5 days ago

CATACOMBS. 2026.
ACRYLIC, PEN, MARKER, AND RESIN ON MELAMINE BOARD. 39.5 x 35 CM.

@everard_read_cape_town_ by @boytchie_

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2

5 days ago

RIGHTEOUS ORDERS. 2026.
OIL, ENAMEL AND BITUMEN ON CANVAS STRETCHED OVER RECONSTRUCTED WOODEN TRESTLES.
129 x 116 CM.

@everard_read_cape_town_ by @boytchie_

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7 days ago

🎨 Boytchie
💀 4 SKULLS
📅 2026
🖌️ Oil, enamel and bitumen on wood
📐 91 x 66 cm
🏛️ @everard_read_johannesburg @everard_read_cape_town_

Cape Town artist Boytchie works across painting, drawing and sculpture, with drawing forming the starting point for an experimental practice shaped by Neo-Expressionism, Romanticism, Impressionism and anime. Bold marks, saturated colour and imagery that shifts between the tragic and the comic allow him to confront contemporary hustle culture, greed, power and our increasing familiarity with violence.

In 4 SKULLS, Boytchie returns to a motif that has appeared repeatedly in his recent work, including Untitled (Skull), Untitled (Skull with Grillz) and 2 Skulls in the Dirt. Here, oil, enamel and bitumen meet on wood, continuing his instinct for combining conventional painting with tougher, less polished materials. The title leaves little room for distraction: four skulls, a recurring image within a practice that asks us to look directly at death, violence and the uneasy point where discomfort can become familiar.

#ArtAngels #Boytchie #4Skulls #SouthAfricanArt #EverardRead by @boytchie_

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24 days ago

KASH OUT /// SKETCH DROP

SETS 2 - 3 - 5

These drawings form part of my KASH OUT series.
A response to hustle culture, late-stage capitalism, global pollution, the rise of far-right rhetoric globally, and how resources are not fairly traded but stolen.

Six blueprint images, each redrawn five times by hand. No repeats, no prints, every mark its own original. It borrows the graphic novel’s logic of the repeated panel, but refuses the machine behind it: where print media promises identical copies, these stay stubbornly handmade, each variation a twist on the last.

As a body of work KASH OUT seeks to capture the
visual language of hustle culture, late-stage capitalism, and the way resources are stolen rather than traded. The Variables carry the same weight, just sketched looser, faster, and with more mischievousness.

LINK IN BIO

DM FOR LAYBUY OPTIONS by @boytchie_

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a month ago

SLOT MACHINE 1-5. BOYTCHIE. 2026. MARKER ON PAPER CARD. A5.

LINK IN BIO

These drawings form part of my KASH OUT series.
A response to hustle culture, late-stage capitalism, global pollution, the rise of far-right rhetoric globally, and how resources are not fairly traded but stolen.

Six blueprint images, each redrawn five times by hand. No repeats, no prints, every mark its own original. It borrows the graphic novel’s logic of the repeated panel, but refuses the machine behind it: where print media promises identical copies, these stay stubbornly handmade, each variation a twist on the last.

As a body of work KASH OUT seeks to capture the
visual language of hustle culture, late-stage capitalism, and the way resources are stolen rather than traded. The Variables carry the same weight, just sketched looser, faster, and with more mischievousness.

BOYTCHIESTUDIOS.COM by @boytchie_

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2

a month ago

CITY LAND 1-5. 2026. MARKER ON PAPER CARD. A5.

LINK IN BIO

These drawings form part of my KASH OUT series.
A response to hustle culture, late-stage capitalism, global pollution, the rise of far-right rhetoric globally, and how resources are not fairly traded but stolen.

Six blueprint images, each redrawn five times by hand. No repeats, no prints, every mark its own original. It borrows the graphic novel’s logic of the repeated panel, but refuses the machine behind it: where print media promises identical copies, these stay stubbornly handmade, each variation a twist on the last.

As a body of work KASH OUT seeks to capture the
visual language of hustle culture, late-stage capitalism, and the way resources are stolen rather than traded. The Variables carry the same weight, just sketched looser, faster, and with more mischievousness.

* ALL ORIGINAL DRAWINGS, UNFRAMED

* R3,500 EACH

* LAYBUY AVAILABLE — PAY OVER UP TO 3 MONTHS TO SECURE A PIECE

*SHIPPING EXCLUDED, RATES CALCULATED ON ENQUIRY, OR COLLECT FREE FROM THE STUDIO

*BONUS FREE MINI MYSTERY ARTWORK WITH
PURCHASES

BOYTCHIESTUDIOS.COM by @boytchie_

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a month ago

COUNTING COIN 1-5. 2026. MARKER ON PAPER CARD. A5.

LINK IN BIO

These drawings form part of my KASH OUT series.
A response to hustle culture, late-stage capitalism, global pollution, the rise of far-right rhetoric globally, and how resources are not fairly traded but stolen.

Six blueprint images, each redrawn five times by hand. No repeats, no prints, every mark its own original. It borrows the graphic novel’s logic of the repeated panel, but refuses the machine behind it: where print media promises identical copies, these stay stubbornly handmade, each variation a twist on the last.

As a body of work KASH OUT seeks to capture the
visual language of hustle culture, late-stage capitalism, and the way resources are stolen rather than traded. The Variables carry the same weight, just sketched looser, faster, and with more mischievousness.

* ALL ORIGINAL DRAWINGS, UNFRAMED

* R3,500 EACH

* LAYBUY AVAILABLE — PAY OVER UP TO 3 MONTHS TO SECURE A PIECE

*SHIPPING EXCLUDED, RATES CALCULATED ON ENQUIRY, OR COLLECT FREE FROM THE STUDIO

*BONUS FREE MINI MYSTERY ARTWORK WITH
PURCHASES

BOYTCHIESTUDIOS.COM by @boytchie_

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2

a month ago

OIL MONEY MAKES THE WORLD GO ROUND 1-5. 2026. MARKER ON PAPER CARD. A5.

* ALL ORIGINAL DRAWINGS, UNFRAMED

* R3,500 EACH

* LAYBUY AVAILABLE — PAY OVER UP TO 3 MONTHS TO SECURE A PIECE

*SHIPPING EXCLUDED, RATES CALCULATED ON ENQUIRY, OR COLLECT FREE FROM THE STUDIO

*BONUS FREE MINI MYSTERY ARTWORK WITH
PURCHASES

BOYTCHIESTUDIOS.COM by @boytchie_

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2 months ago

CATACOMBS 1-5. 2026. MARKER ON PAPER CARD. A5.

LINK IN BIO

These drawings form part of my KASH OUT series.
A response to hustle culture, late-stage capitalism, global pollution, the rise of far-right rhetoric globally, and how resources are not fairly traded but stolen.

Six blueprint images, each redrawn five times by hand. No repeats, no prints, every mark its own original. It borrows the graphic novel’s logic of the repeated panel, but refuses the machine behind it: where print media promises identical copies, these stay stubbornly handmade, each variation a twist on the last.

As a body of work KASH OUT seeks to capture the
visual language of hustle culture, late-stage capitalism, and the way resources are stolen rather than traded. The Variables carry the same weight, just sketched looser, faster, and with more mischievousness. by @boytchie_

30

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2 months ago

THE PROSPECTOR 1-5. 2026. MARKER ON PAPER CARD. A5.

COLLECTION GOES LIVE TOMORROW by @boytchie_

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2 months ago