Diary log 5 November

10-to-collide

The first draft of Intraparadox: Interview with Nelmarie du Preez which I conducted on 26 September 2016 is complete. It has been long overdue but I have completed it finally ! Over the next couple of weeks I will be readying it for blogging. It has been a difficult period writerly to emerge from the 47 minutes of this interview because of other pending projects as well professional workload elsewhere. But as always it has been a great pleasure to delve into the body of work that was featured in the SASOL NEW Signatures Solo exhibition 2016 through the perspective of the interview. Du Preez comes across surprisingly as spontaneous and a humorous as a person. To a greater extent she is clinical in her execution of her technologically driven work. You can look forward to a discovery of GUI (Graphic User Interface) and the discourse between herself and this phenomenon that gives birth to her idea about art and technology. May we find the artist.

Subject – Intraparadox: Interview with Nelmarie du Preez

 

Dye My Memories

Say ''Peace''. Hair dye on canvas.2016

Seboko, Thato. Say Peace, 2016. Hair Dye on canvas. Dimensions not available

I spoke to Thato Seboko on Tuesday 12 April ahead of his solo exhibition opening at the Mellow House Factory in Tshwane, Hatfield. The artist was excited about his upcoming exhibition which will feature a new body of work comprising of 16 artworks. Presently he is working with a new media – hair dye, which is a non traditional art making material and can be looked upon as a new vehicle for artistic expression and thematic enunciation as far as new media is concerned. Since the artist retains a figurative approach in dealing with his subject matter something of fine art tradition is retained with regard to form but the accepted media of delivery is challenged and thus the boundary of art production process pushed further.

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Diary Entry: Paucity, Balcomb, Winter and my first love

Dear reader I would like to thank you for continuing to read my work. It is an honor to be read even if it just that random post. After taking a big risk recently by swinging towards the unknown territory which is The Development of Pay Television in our country I was relieved to see readers statistics holding their stability levels. Pay television, I am sure you’re aware by this time, is an area of interest to me and I thought why not critique it while I was fascinated by what was happening with the recent launch of online subscription based services in South Africa. I had had fun jotting a few pieces in this area. Last word in this regard is that pay television in this country can be seen as a reflection of the growing pseudo black middle class. I personally feel that economically we are not there yet in the true sense of what being middle class means. How can you be middle class if your direct brothers and sisters live is poverty due to lack of employment and economic opportunities? But capital prevail and we’re all under its entrapment

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Interview with Mxolisi Vusimuzi Beauchamp (Part III)

Location: Pretoria Art Museum, Tshwane, South Africa

Date: Tuesday 17 February 2015 at 09:00

Part Three:

Identity /Ideology Bamboozled

 

Mmutle. So would you say the idea of identity in terms of the content of the work started to take shape somewhere during this period, as you were exposed to the work of Spike Lee in comparison to the work of John Singleton?

Vusi. There was another artist, an English-Nigerian who used Elephant dung in his artworks. I forget his name. But like in identity, interrogating the idea of identity you know in the arts Spike Lee’s ‘Bamboozled’ sort of put at rest my anger towards the way blacks were excluded. You know that movie it made sense in a way that entertainment and such things were not something that was reserved for black people in a way. Entertainment wise it was mocking them. That was the entertainment industry and I just wanted to find a way for escaping or teaching [myself] or finding a way to express my anger through specifying that there is a difference between an artist and a black artist. They are two different things.

Mmutle. You mean the difference between a white artist…?

Vusi. No-no, the difference between an artist and a black artist. You know if you are black you are not an artist you are a ‘black artist’. So there is that thing…

[Mmutle. So you are not an artist pure – you are a black artist.]

Vusi. That’s what helped me to interrogate this thing. I have always saw myself as an artist…

Mmutle. And now this dichotomy of

Beauchamp, Mxolisi Vusimuzi. New Industry, 2015. Mixed Media.

Beauchamp, Mxolisi Vusimuzi. New Industry, 2015. Mixed Media.

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Interview with Mxolisi Vusimuzi Beauchamp (Part II)

Location: Pretoria Art Museum, Tshwane, South Africa

Date: Tuesday 17 February 2015 at 09:00

 Part Two:

Intellectual Rebellion/No holes on the Walls

Mmutle. You’ve now moved into an interesting period where you are now studying at University level, at Tshwane University of Technology. If you were to compare your training at Tshwane University of Technology and your exposure to fine arts at high school. What were the differences in these two institutionS?

Vusi. There is a difference, the difference was that in high school I was left to my own devices to achieve freedom that I had and I was passing, I was marked for doing what I was doing naturally. With TUT they were teaching me techniques now, that’s the first time I explored oils, you know, and I was taught how to mix, using oils and the techniques, and applying oil and all those sorts of things and exploring different dimensions that I’ve never experimented with as in using acrylic paints to oil, actually layering the artwork – scumbling and [the] glazing of the artwork. I really enjoyed the paintings of Rembrandts, the van Gogh style, the Vermeer, Dutch painters and stuff. Well, like I said we were exposed mostly to the Europeans [artists]

Mmutle. Of course

Vusi. Style of painting a subject in a way a still life and figurative type of thing…

Mmutle. Did it bode well to you that your training at Tshwane University of Technology tended to focus more on Western Art than it exposed you to African Art or South African Art?

Beuchamp, Mxolisi Vusimuzi. The Future, 2015. Mixed Media.

Beuchamp, Mxolisi Vusimuzi. The Future, 2015. Mixed Media.

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Interview with Mxolisi Vusimuzi Beauchamp (Part I)

Location: Pretoria Art Museum, Tshwane, South Africa

Date: Tuesday 17 February 2015 at 09:00

 Part One:

Childhood and Exposure to Arts Education

 

Mmutle Arthur Kgokong: Good morning Vusi Beauchamp, thanks for giving me the opportunity to interview you.

Mxolisi Vusimuzi Beauchamp: Thanks Mr. Mmutle

Mmutle AK: I just want us to start a little bit at the beginning of your life, when were you born?

Mxolisi VB: 1979 the third of May

MAK: and where did you grow up?

MVB: I grew up in Mamelodi Pretoria and I spent most of life there.

Mmutle: So you are a Pretorian

Vusi. Yes, I was made in Pretoria (Jokes)

Mmutle. (Laughs), if you can just tell me about your early childhood experiences. What was it like growing up in Mamelodi?

Mxolisi Vusimuzi Beauchamp at work. Image source, the artist facebook profile.

Beauchamp at work on The Great Maestro. Image source, the artist facebook profile.

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Speech: The Nature of an Artist’s journey

ON the 7 February 2015 at about ten in the morning I was about to read the prepared speech below at the opening of Tshwane University of Technology Department of Fine and Applied Arts BTech exhibition while I noticed, in the sea of the crowd nestle here and there serious looks including a couple of people who rolled their eyes upwards in the ‘here it comes’ attitude. This together with the occasional air blows from the nearby air con which ruffled my prepared speech papers in its duel against the onslaught of summer heat convinced me to ditch the speech and speak from an improvised angle. I doubt if anyone ate from my palms. Contrary to popular believe of the little circle I belong to, I am never comfortable speaking in public, even if it’s about what I feel passionate about, art. I find solace in the written text. Presently I hope that the speech below does justice to my improvised performance.

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Intraparadoxical contemplation

ïntraparadox is a coinage for the phenomena that occurs during an interview with an artist. Like any human being out there an artist has their own convictions and contradictions; for they are social animals. So intraparadox, as a dialogue produced as a result of an interview with the artist, is like an x-ray process that reveals the nature of the artist, their life and their art practice. It is important then that it, intraparadox, be written word for word based on the audio file gathered during the moment of interview with the artist, for I would like to present as closest an account as possible of the artist’s persona to the reader – a portrait of the artist. The reading must produce a reflection of the personality of the artist as it is, as it would be encountered when the reader, should the occasion present itself, meet the artist in person! The interview should be an intimate encounter of the artist in conversation about their work – this is the first task of writing the text. Secondly, during the interview as the ideals upheld by the artist emerge, teased out and made bare as the conversation develops around pertinent issues the artist is preoccupied with in their art production or practice; issues which might emerge during the dialogue, it is hoped, that an opportunity will be afforded the reader to delve deeper into the conception of the visual art object apropos to the  artist undergoing the interview

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Intraparadox – Interview with Dot Vermeulen: POSTING PRESENCE

Winning SASOL New Signatures 2013

Mmutle Arthur Kgokong: Good morning Dots, It’s a privilege to be with you at the Pretoria art museum and to look at the exhibition having won SASOL New Signatures 2013   Dot Vermeulen: Thank you it’s a privilege to be here [SMILES]   MAK: With the video installation, I can remember of the lady paging through a magazine or a book   DV: Yes   MAK: …and there was also a painting behind that animation of the exact image, but you know there was a stillness of the painting and there was an animation with the computer image or the images that was shown on the computer. One may wonder and say what were your thoughts when you won the SASOL New Signatures 2013, what went through your mind when you were told?   DV: I did not expect it at all, I was absolutely stunned and quite overwhelmed, feeling extraordinary, it was a very big surprise, very big surprise, yes.   MAK: Before then did you enter other art competitions or it was the first time?   DV: I took part in the SASOL New signatures twice before, and in the hundred finalists round, but I have never before become a finalist.   MAK: let alone a runner up?   DV: Yes   MAK: So you just went on to become the winner in 2013   DV: Yes totally surprised by that

posting presence, dot vermeulen (3)

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Macaque [(selfie)] Effect

*a selfie is self-portrait photograph, typically taken with a hand-held camera or camera phone

SELFIES abound the social network. I think there is something immediate about them. I will come back to this line now-now.It is not as if the *selfie is a yesterday phenomenon. Think about the self portraits that adorns our galleries from the ages of yore yonder. In those days the artist, having contemplated himself, set out to capture his likeness as honesty as possible to capture his essence so that those who will give the priceless work attention and say ‘oh that is a Gerard Sekoto’ oh this is a Maggie Laubser will be titillated by the aura and mystery guess game of what the sitter, artist was preoccupied with when the work was spun.

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