Intraparadox: Zyman Amien’s “Real” lives and “Ordinary” objects

» Zyma Amien's solo exhibition at the Pretoria Art Museum, ‘Real’ lives and “Ordinary” objects: Partisan art-making strategies with garment workers of the Western Cape - Continuation  is part of the SASOL New Signatures Art Competition’s previous winner for 2016 continues the journey from where the winning work Paying Homage left off. The exhibition is …

Continue reading Intraparadox: Zyman Amien’s “Real” lives and “Ordinary” objects

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On the artist Tshepo DD Maponyane’s development

The aim of this essay is to trace the development of the career of Tshepo DD Maponyane based on an extensive interview that I conducted with him in 2011 shortly after his return from Bali. Already at that time plans were underway to mount an exhibition of his work at the Pretoria Art Museum to afford his home town to his oeuvre in one space. It is my hope that the reader will come to realise the conditions within which this artist has emerged. The critical assessment of the work of the artist is not part of the current essay but will form part of a separate essay entitled ‘Self Introspection – A critical assessment’ therein his visual art output selected for his solo exhibition at the Pretoria Art Museum will be discussed.

For Sale Project Exhibition 2012

However if I may be allowed the privilege to give a general commentary on creativity itself I would like to offer that the artist, the creative person whatever the vocation of creativity that they are grappling with, for them concentration is everything. For in their pursuit to reach the original artwork the artist must work hard ceaselessly. Then I believe that they will reach a state wherein there is a ceaseless stream of consciousness towards creative art production. It is in that state that the artist will produce remarkable work that can claim a place in visual art history. In the future students of the arts will come across their names and work. And this is the highest ideal that art energy should try and attain through the life of the artist. The artist can channel it only without compromising hard work.

Cross-pollination: Interview with the artist Philiswa Lila

in my work now in terms of the techniques, the whole, it’s not the basic thing the important thing about your work and how you groom your skills in that way because when I came here I knew that I came here to learn how to make art without any art background from the Eastern Cape, I think that side of it I think there’s really umm... worked, in terms of facilitation umm I’ve never done any facilitation before at TUT, we’ve never, we’ve had classes where we were told about community engagement projects, first year, with the communication class but I think, it ends there, and I think it should be a continuation because by the time you get to third year you don’t know actually what to do if they start only in first year and it ends there. So they, all in all facilitation at TUT has never happened yah. So a lot of ummm I think that has made a lot of students that come out from there to get lost...in a way, because even...the only facilitation that we are told of is the teaching where you have to apply for a teaching course and you’ll be able to be a teacher but I think it has to tart somewhere because not all of us can be teachers in a way so yah.