Anton and Vale van der Merwe: reinterpreting Afro-Oriental studio ceramics traditions in South Africa
- Authors: Steele, John
- Date: 2015
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/968 , vital:30077
- Description: Growing awareness of ancient Chinese Song and Yuan ceramics, amongst other Oriental traditions, by people with western connections such as Bernard Leach and Michael Cardew, in conjunction with influences from Japanese associates such as Soyetsu Yanagi, Kenkichi Tomimoto, and Shoji Hamada, (De Waal 1997, Harrod 2012, Kikuchi 1977, Leach 1976) has had many consequences. It spread a consciousness idealizing self-sufficient pottery studios where potters were in touch with all aspects of creating utilityware, largely from local materials for local use. Out of this emerged an Anglo-Oriental studio ceramic philosophy of form and practice, associated mainly with hand-made high temperature reduction fired ceramics. These ideas spread to South Africa in the late 1950s, and by the early 1960s local studios were being established along these lines. This studio ceramics movement grew exponentially in South Africa, initiating a phase of Afro-Oriental ceramics that remains a powerful way of life and visual arts influence. This paper seeks to explore aspects of Afro- Oriental studio ceramics in South Africa, with particular reference to the Leach/Hamada/Cardew to Rabinowitz, and Van der Merwe lineage.
- Full Text:
- Date Issued: 2015
- Authors: Steele, John
- Date: 2015
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/968 , vital:30077
- Description: Growing awareness of ancient Chinese Song and Yuan ceramics, amongst other Oriental traditions, by people with western connections such as Bernard Leach and Michael Cardew, in conjunction with influences from Japanese associates such as Soyetsu Yanagi, Kenkichi Tomimoto, and Shoji Hamada, (De Waal 1997, Harrod 2012, Kikuchi 1977, Leach 1976) has had many consequences. It spread a consciousness idealizing self-sufficient pottery studios where potters were in touch with all aspects of creating utilityware, largely from local materials for local use. Out of this emerged an Anglo-Oriental studio ceramic philosophy of form and practice, associated mainly with hand-made high temperature reduction fired ceramics. These ideas spread to South Africa in the late 1950s, and by the early 1960s local studios were being established along these lines. This studio ceramics movement grew exponentially in South Africa, initiating a phase of Afro-Oriental ceramics that remains a powerful way of life and visual arts influence. This paper seeks to explore aspects of Afro- Oriental studio ceramics in South Africa, with particular reference to the Leach/Hamada/Cardew to Rabinowitz, and Van der Merwe lineage.
- Full Text:
- Date Issued: 2015
Maximum firepower: Vale van der Merwe, an emergent ceramic artist at Starways Arts, Hogsback, Eastern Cape, South Africa
- Authors: Steele, John
- Date: 2015
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/979 , vital:30078
- Description: Vale van der Merwe has been working as a ceramic artist for the past five years, and in that time has developed a remarkably diverse repertoire of both thrown and handbuilt works. These include rapidly thrown utilityware as well as carefully conceived sculptural works that engage with ideas rather than primarily with function. She also makes full use of opportunities offered by high-temperature woodburn firings, and despite works collapsing while being made, breaking while being carried to the kiln and slumping during firing, she has used such occasions as opportunities for learning rather than despondency. Van der Merwe is also an actively hands-on ceramic artist who engages with all levels of tasks associated with studio ceramics in a village setting, so has found herself, for example, both creating a new chimney for the kiln, and simultaneously leading discussion around concepts for new collaborative exhibitions. There is a seriousness of intent combined with infectious confidence evident in both her daily presence and ceramics, and it is hoped that she will develop her repertoire and thinkings even further in forthcoming years.
- Full Text:
- Date Issued: 2015
- Authors: Steele, John
- Date: 2015
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/979 , vital:30078
- Description: Vale van der Merwe has been working as a ceramic artist for the past five years, and in that time has developed a remarkably diverse repertoire of both thrown and handbuilt works. These include rapidly thrown utilityware as well as carefully conceived sculptural works that engage with ideas rather than primarily with function. She also makes full use of opportunities offered by high-temperature woodburn firings, and despite works collapsing while being made, breaking while being carried to the kiln and slumping during firing, she has used such occasions as opportunities for learning rather than despondency. Van der Merwe is also an actively hands-on ceramic artist who engages with all levels of tasks associated with studio ceramics in a village setting, so has found herself, for example, both creating a new chimney for the kiln, and simultaneously leading discussion around concepts for new collaborative exhibitions. There is a seriousness of intent combined with infectious confidence evident in both her daily presence and ceramics, and it is hoped that she will develop her repertoire and thinkings even further in forthcoming years.
- Full Text:
- Date Issued: 2015
Sculpting with fire: celebrating ephemerality at AfrikaBurn 2015 in the Tankwa Karoo, South Africa
- Authors: Steele, John
- Date: 2015
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/957 , vital:30075
- Description: Land art, and some installation art, is usually aimed at relatively temporarily manipulating the surface of the earth. AfrikaBurn takes place annually in the near-desert of the Tankwa Karoo, South Africa. It is a communal event unique to Africa, and manifests as a fleeting week-long series of interventions in the natural environment, partially aimed at creating and then actively destroying free-standing public sculptures, some of which are huge and intricate. AfrikaBurn gives any one of the thousands of participants an opportunity to be inspired on any scale to generate artworks that take into account a principle that no debris whatsoever is left behind on the surface of the earth after a week-long celebration of creative energies. Unlike, for instance, an artwork built on the edge of the Indian Ocean in the Eastern Cape, where rough tidal seas would ensure gradual destruction, at AfrikaBurn, the sacrificial method of choice is controlled rapid burning, under the direction of a specified firemaster. This paper seeks to unbundle some aspects of land and installation art in Southern Africa with specific reference to AfrikaBurn 2015 events and anti-fracking initiatives. This is within a context that takes into account recognition that even seemingly durable public sculptures are subject to change and may even physically disappear with the passing of time.
- Full Text:
- Date Issued: 2015
- Authors: Steele, John
- Date: 2015
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/957 , vital:30075
- Description: Land art, and some installation art, is usually aimed at relatively temporarily manipulating the surface of the earth. AfrikaBurn takes place annually in the near-desert of the Tankwa Karoo, South Africa. It is a communal event unique to Africa, and manifests as a fleeting week-long series of interventions in the natural environment, partially aimed at creating and then actively destroying free-standing public sculptures, some of which are huge and intricate. AfrikaBurn gives any one of the thousands of participants an opportunity to be inspired on any scale to generate artworks that take into account a principle that no debris whatsoever is left behind on the surface of the earth after a week-long celebration of creative energies. Unlike, for instance, an artwork built on the edge of the Indian Ocean in the Eastern Cape, where rough tidal seas would ensure gradual destruction, at AfrikaBurn, the sacrificial method of choice is controlled rapid burning, under the direction of a specified firemaster. This paper seeks to unbundle some aspects of land and installation art in Southern Africa with specific reference to AfrikaBurn 2015 events and anti-fracking initiatives. This is within a context that takes into account recognition that even seemingly durable public sculptures are subject to change and may even physically disappear with the passing of time.
- Full Text:
- Date Issued: 2015
- «
- ‹
- 1
- ›
- »