Towards PLOSC and SLOSC Critic (part 1)

There are two concerns that a work of art can be preoccupied with as far as our society is concerned. Let us accommodate the fact that a work of art, by the nature of its origin, by its insistence in our lives it is a social product. By the same token the artist can be looked upon as an outlet through which a particular society can be looked upon. This looking upon, this gazing that an artist undertakes when they make work that valuates a feature of a society, to be approximate (or ‘precise’ if you wish to use that word) their own society – their reportage or visual portrayal of society serves to surface the nature of that society as far as a particular feature of that society is concerned. At this meditative level an artwork can be looked upon as a study.

In the present writing I wish to term these concerns that an artwork can be preoccupied with as far as it being a study of a society as ‘levels of social critiques’ of which there is a Primary Level of social Critique and Secondary Level of Social Critique respectively. However, before we penetrate deeper into what I am proposing here, we ought to take a step back and look at an artwork at its gross state. If you allow me the liberty to sanction your consideration of the art object at that virgin moment before its intercourse with the public; at that point when the spectator looks at it for the first time or in the case of a literary text, when a reader experiences the work through a first reading, what we will encounter at this state is a social artefact that demands nothing but our time for its consumption. If it is aesthetically pleasing we are urged to acknowledge the abundance of decorum that the human hand and vision are capable of. If it is prophetic in its nature we will be warned through it of what doom looms arround. If it is stylistically developed and deploys new ways of methodology in its construction it will pave or, if you will, forecast other possibilities in art making. And if it pulls and deposit all these ‘Ifs’ in it, it is an explosive breakthrough – it undeniably changes how art will be made from that point onwards. But only if we the recipient of the artwork grants them time and consume them.


On the artist Tshepo DD Maponyane’s development


Our neighbourhoods, our townships, our urban areas bustle with talent. Some of this talent will sprout on fertile soil that has readily available resources that will help nurture it to reach its full genius through access to academic training. But some of this talent will fall on barren soil with no potential for survival due to lack of financial nurturing, however because within those unfortunate seeds lurks innate survival drive, the inevitable drop of water or treatment of that barren soil that imbibe the environment with fertility; with potentiality for growth and development can help unlock the talent.

Such a change of prospect privileges the world to have the chance to come into contact with the innate creative force that battle the odds to emerge victorious as it speaks the gospel of art through form, colour, line and volume witnessed in the art object that grapples with the issues of the artists time; personal or worldly. Unlike his contemporaries Tshepo DD Maponyane developed from a barren environment that I have hitherto referred to and claimed his place within the contemporary art scene in South Africa.

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.  


Neo Resistance Art and its Fallacy (final edit!)

/a mistaken reasoning which makes an argument invalid/

/the ability not to be affected by something/

/skill, especially human skill as opposed to nature; skillful execution as an object in itself/


Take note that…

This is the final edition of an essay that I first published on 23 May, there have been a few omissions and additions made here and there, all done with the effort to zoom clearly on the preoccupation the essay raises. The original  work is still available in this blog.


I was going to title the present article artwork. That title would not have encapsulated the issues that I would like to tackle presently. In a country that is divided economically and operating along racial lines, though covertly, when one looks at the so call liberal arts, even before consider such art as liberal, we must go to the beginning of the conception of an artwork which is in itself a problematic journey in itself. Yet its locale is quite clear, the conception of an artwork takes place within the exercising of freedom to respond to stimuli either internally or externally to the artist not from freedom of speech. Actually freedom of speech is the desire to share with everyone around you your fundamental concerns.