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Independent Work

Introduction 

I’m interested in the self,It’s not because I’m full of myself but the reason is because I’m looking for something within myself,trying to complete myself by looking for hidden messages,by looking at myself for extended hours and trying to develop my own visual language that I can apply later to other artistic forms.

I will be using symbolism to represent ideas, with the addition of a personal anecdote to create a conceptual piece.

Documentation 

Quote was taken from Pop culture animation (Lion King), ”Look beyond what you see”(appropriation). Interpellation through use of “you” ,which is subjective.

Inspired by the curation of the artwork,Marilyn Diptych,by Andy Warhol as well as how he Interpreted the same work in different colours.

Postmodernism- Self reflexivity- putting the viewer into the work,and in so doing causes the viewer to reflect on themself. I want to use the colour pallete found in the neon light text.

Inspired by my Grandma, whom made inspirational embroidery quotes in her spare time.Relates to the home as well as relating to the situation we are in (Lock down).Fascinated by the inspirational embroidery quotes found on fabrics and how they provided philosophical wisdom.I will be using a frame which belonged to my grandma who displayed inspirational embroidery quotes on.

The font was taken from a template which I was given in Grade 3,which taught me how to write in cursive.I created my text using the template.

Final Independent Work

Bradley Williams

Look beyond what you see

Embroidery on Cotton 

2020.

Bradley Williams

Look beyond what you see

Embroidery on Calico 

2020.

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Workshop Materiality

G.) Assemblage

Used Static knot,Slip knot,Stopper,Shear lashing,Sqaure lashing,Round lashing,Bowline, and Anglers loop.

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Workshop Materiality

F.) Square lashing

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Workshop Materiality

E.) Three knots

1.)Stopper

2.)Static knot

3.) Slip knot

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Workshop Materiality

D.) Collage and Homade glue

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Workshop Materiality

C.) Collage

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Workshop Materiality

B)Homade glue

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Workshop Materiality

A)Speaker

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Woodstock walkabout

The boardstore-I saw boards in various kinds of wood aswell as offcuts which could be very cost effective.there were long strips of wood which would come in handy for a frame of an artwork or frame for a canvas.

Cape bag depot- Various materials such as hessein,canvas,pvc,handbags.This could be a good place for various mediums to paint on.

Lt discount-Various household and outside paint.There were various brushes,sponges and mops.These materials could come in handy to break out of the tradition of painting with art paint.Could add a very conceptual aspect to work.

Deckle edge-Everything that you could possibly want from an art store,to paints,pencils,pens,and varoius kinds of paper.

Plastic pack-Various kinds of household plastic items to cups,utensils,backing equipment.Could be a good place to get affordable cups for brushes or a plate for a pallete.

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Bradley Williams

Prisoner of the past

74,8 x 65,6 cm

Oil on canvas

Im interested in the self.Its not because I’m full of myself but the reason is because im looking for something within myself, trying to complete myself by looking for hidden messages, by looking at myself for extended hours and trying to develop my own visual language that I can apply later to other artistic forms.

I came across an artwork which i found resonated with me.It was a work done by Gerard Sekoto,”Prison Yard”.I found that Gerard Sekoto was influenced by Ernst Ludwig Kirshner’s artwork,”Street,Berlin”,I noticed he copied elements.Therefore I will follow suit of Gerard Sekoto through appropriation.Thus it will be seen as a continuation of a cycle.

The artwork is situated in District 6 in Cape Town,which is my birth place,which is well rooted with me.

It depicts a group of prisoners who walk under the control of a prison guard.The work explores the psychological difference between prisoner and guard. The prisoner being squashed together with their arms close to that of the guard who strides with an open posture suggesting his freedom to that of the prisoners whom portray captivity.There is no open space for escape and everything focuses on on the group of figures.

Now going back to the self I will be replacing the prisoners with myself.In doing so I will put myself into a historical time/narrative.Thus taking the captivity and psychological aspect that goes with my historical past,as i constantly carry the baggage and burden of “Apartheid”,being a South African

The artwork will have an historical heir to it.The artwork will be a recreation,which will become a commentary.Its neither something new nor original.It something that sits on its own plane,that critiques and celebrates a history.

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Wooden constructions

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Tutorial Assignment

Sabelo Mlangeni

The Royal House of Allure

Mlangeni spent six weeks in The Royal House of Allure creating his body of work, it was situated in Lagos which is in Nigeria. Nigeria has the status of being queer phobic. Therefore, we can say that heterosexuality was celebrated and homosexuality was oppressed. The Royal House of Allure was seen to be a safe haven for the queer community in Lagos. The house being an escape from the outside world which rejected them. The community finds refuge in The Royal House of Allure. Mlangeni’s photography is black and white. This communicates in a manner that feels very historical, this entail tells the story of the community. Which depict these individuals forging connections as well as a portrayal of their daily lives e.g. braiding each other’s hair, conversing, sewing, napping, cooking. This gives the viewer a glance into the dynamics of the community. Which appears to be full of love and acceptance between one another. The scale which Mlangeni’s photography was printed is small, this entail causes the viewer to become more intimate as well as engaging when deciphering the semiotics in the photograph. Tying with the idea of intimacy, the photographs portray the lives of the community in the Royal House of Allure. There is a truth and honesty in the way the images where captured, as the artist captured the photographs in the moment, and due to this conscious choice evokes the real. By the portrayal of the community, the topic of visibility arose. it puts their identity to the forefront, and thus bringing up the conversation of gender identity and sexual orientation.

William Mapondera

Chirema Chine Mazano Chinotamba Chakazendama Madziro Part 2

At first glance I notice that the artist,Mapondera, explores materiality. Here lies the narrative of the work. He has made the conscious choice of using found objects.The origin of these objects are taken from the area in which he was born, Which was in Zimbabwe, therefore we are confronted by the idea that he is using his materials to depict his portrayal of his roots(Zimbabwe),Through the portrayal of waste/found objects which was picked up from the ground and bins of Zimbabwe,it Appears like the origin of many of the waste came from a tuck shop, thus depicting the state of the country which he comes from (poverty). Concepts of navigation/mapping arose when looking at his artworks. To the wear and tear of the materials which is portrayed in an abstract manner. textures are constructed with the use of cardboard. This is layered in such a manner which looks like a landscape or a geographical picture of terrain from an aerial view. A frame of a window is displayed with toilet paper which is portrayed in a manner that is joined tightly. The reason behind the artist doing this in such a manner is because he wanted to bring up the discussion of the domestic life and how they have been affected by the sewers systems which has been shut down. A discovery sought out that Zimbabwe did not have any signs of toilet paper in their country and by putting it in this space brought up the topic of privilege. Therefore representing classes as well as how in many parts of the world it is seen as a basic need but now being glorified, to state that not everyone is fortunate to own this basic need. The artist sought to portray the basic need of toilet paper in a manner to that of luxury. Mapondera found a tent in Zimbabwe. the condition of the tent was seen to be a portrayal of the country, The artist stitched and mended the holes which was seen to be symbolic of how Zimbabwe is rebuilding, so we get a sense that the country is trying to recover from the past. The tent is also seen as a home, therefore suggesting the love that the artist feels about his homeland. When walking in the space we are confronted by sounds/noise ,this is very powerful when placed in the space as it helps you locate yourself in a specific cultural space, and when engaging with the works I found that it helps to give an idea of where the materials have come from. At times I don’t even notice the noise as it comes and goes, and it feels like it takes me outside the space to a area that is filled with a vibrant and exuberant community. Lighting effects many of the artworks as they depict shadows which are cast from the artworks, thus making the artworks appear more prominent in the space, be it by the organic shapes depicted on the walls,and this evokes a very transient or somewhat monumental appearance which is given to the artwork.

(802 words)

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Library Assignment

Artists pertaining to my current interest/practice:

-Hannah Hoch.

-Richard Hamilton.

-Gerard Sekoto.

-George Pemba.

Techniques relevant to your self-motivated project:

-underpainting.

-blocking in.

-glazing.

Material relevant to your self-motivated project:

-Oil paint.

-Linen.

-Gesso.

Sources that deepen your current practice:

-William Kentridge.

-Rembrandt: self-portraits.

-Ruben: a master in the making.

-Pablo Picasso.

Bibliography using Harvard Referencing systems:

1.) Boswell, P, Lauchner, C, Makela, M. 1996. The Photomontages of Hannah Hoch. Minneapolis: Walker art center.

2.) Livingstone,M.1990. Pop art: a continuing history. London: Thames and Hudson.

3.) Lindop, B. 1995. Sekoto: The art of Gerard Sekoto. London: Pavillion.

4.) Aristides, J.2008.Classical painting atelier. New York: Watson- Gyptill publications.

5.) Wright, C, 1982. Rembrandt: Self Portrait. London: The Gordon Fraser Gallery Ltd.

6.) Stewart, S, Krut, D. 2004. William Kentridge Prints. Johannesburg: David Krut Publishing.

7.) Jaffe, D. 2005. Rubens: A master in the making. London: Yale University Press.

8.) Loria, S. 1995. Pablo Picasso (Master of Art). London: Hodder Wayland publishing.

9.) Feinberg, B.2000.George Pemba: art of the people. South Africa: Thorold Africana Books.