Garth Walker - ijusi – Design based in African Experience

Globalization VERSUS a cultural identity

 Look at these three photos of supermarket interiors. One is in Belgium, one in Canada, and another in South Africa. Can you tell the difference?

REFERENCE

When you travel around the world, you often can't tell where you are when you are indoors - everything looks similar. We belong to a global design village.

The Levin Institute (The State University of New York), points out that "although there is no consensus on the consequences of globalization on national cultures, many people believe that a people’s exposure to foreign culture can undermine their own cultural identity." LINK

Garth Walker is a Graphic Designer with an interest in reinforcing a unique cultural identity that was already evident in our post-democratic environment. He was the founder of Orange Juice Designs (hence ijusi), and also of Mister Walker - another Design agency in Durban.

Read this interview (courtesy of 10and5.com - Jessica Hunkin), if you are interested in finding out more about what Walker.  LINK to interview

This Exhibition celebrates the ijusi magazine and showcases  Walker's idea of 'Design based in African Experience'.
Garth Walker's intention in creating the ijusi magazine was to encourage and promote a visual design language rooted in our own South African experience.This year (2014) marks 20 years of ijusi with 29 issues. A book - which is in progress - will be the 30th issue.

Issue 1: Afrocentric Design Adventure   LINK to issuu.com

Issue 1: Afrocentric Design Adventure   LINK to issuu.com

DETAIL

Walker's original intention ........

Walker's original intention ........

From the ijusi home page ... LINK ... read more magazines on this website

“ After Nelson Mandela’s release in 1990, there was a massive influx of people from rural communities into the city in search of work. As a means of survival, many rural migrants started out as informal street traders, selling anything from single cigarettes, to bananas, padlocks or traditional medicines. The resourcefulness of these traders became evident in their self-made signage, instinctively promoting their wares and services. The above image illustrates one such sign, stating “Shoe Repairs Here”. This sign was found on an abandoned shopping trolley in front of Durban’s train station. A truly remarkable piece of hand-lettering, this sign was the start of the ijusi vernacular, signifying a pivotal moment in Garth Walkers extensive South African Image Collection, now the largest extant anywhere in the world”

  

As is evident from this extract from the ijusi home page, Walker's method of design is to first personally observe the environment around him, and then to document photographically what he notices.

Walker says that - "(people out there) simply take what they want from the rest of the world, mix it into an African stew and serve up original and charming designs." Let's examine this idea of acculturation by looking at an example. (Issue 1: Afrocentric Design Adventure LINK to issuu.com)

ijusi-Magazine-Issue-3-Towards-a-New-Visual-Language-left

Research African pictographs, American World War 2 posters, Zulu earplugs, Zulu beadwork designs, to get an idea of the cultural mix.

   

The composition relies on bilateral symmetry around a central vertical and horizontal axis and strong vibrant colours - strategies of usage which are often found in African telegraph wire baskets, baskets and earplugs.  A more contemporary colour usage is found in the background combination of red, magenta and orange with lime green neon accents in some of the figures. Well defined geometrical shapes with strong tonal contrasts are also emphasized.

Symmetry of design

Try doing some of these classroom / studio challenges to develop an understanding of this issue as well as some practical skills. LINK TO ACTIVITIES

This post fits in with the new NSC CAPS theme 6 - Post-democratic Identity in South Africa (including issues of language, ethnicity, globalization, urbanization in the new South Africa)

Ceramic workshop

In the ‘Retroactive’ public art intervention we see storm water drain covers turned into artworks that exist in an interactive public space in Durban, South Africa. This exhibition could be seen in the mezzanine gallery, while the annual KZN Ceramic Association 'Interpreting Ceramics' filled the Main Gallery.

Village - Acrylic on board 62cm diameter

An opportunity to work together arose, and 24 learners from various schools gathered together on a Saturday to get inspiration from the 'Retroactive' focus on vernacular architecture BUT to interpret this in clay.

Two experienced ceramicists - Lynette Morris-Hale and Lorraine Wilson - ran the workshop and focused on relief carving in leather-hard clay slabs. Coloured slips were a feature of this work.
Have a look at Lynette's brief......
LINK

Vernacular architecture - Artists/architects influenced by Africa

Ruins of Great Zimbabwe

Ancient civilizations in South Africa have influenced generations of people in their architecture - both in the past and nowadays. Over the border from the ruins of Great Zimbabwe - in Limpopo Province - we have an important World Heritage Site at Mapungubwe, near Musina in the Northern Province.

The indigenous buildings in this area are examples of vernacular architecture. This vernacular architecture is a type of architecture that is unique to a particular area and relies on the indigenous skills of the local people as well as local materials.

This link to the  Shangana Cultural Village will give you some ideas on current vernacular architecture in the Northern Province.

Read more about this in Architect Tsidi Moahloli’s article on 
Retroactive: A Harmony in Resilience, Ecology and Values
Moahali mentions "The dwelling’s connection to nature in all its glory and complexity cannot be overstated. While modern structures stand on the environment, the indigenous dwelling sits in its context and appears to grow from it".

Entrance to the Mapungubwe World Heritage Site by Abre Crafford

With this thought in mind, look at the presentation link below to find out how Crafford has looked at this vernacular architecture to create an uniquely African building with a contemporary twist.

Here is a link to an illustrated infographic on the above building for you. This can be printed out as a chart for your studio.
Link to infographic

Some more illustrations ....
Mapungubwe architecture - Crafford

Extension reading .......
Another architect who is interested in vernacular architecture is Peter Rich. Please look at Peter Rich's drawings for your own pleasure and skill development .....
Travel sketches
Information Centre Peter Rich Architects (Mapungubwe)

Interpretive Centre by Peter Rich
"Timbrel vaulting is used to construct billowing forms that expose the arched edges of their thin shells, an analogy of the archaeological revelation of past cultures."

[This vernacular architecture fits in with the school’s NCS Curriculum Theme 2: South African artists influenced by African and/or indigenous art forms]

Article by the ArtTeam 2014 

'Retroactive' - Art influenced by Africa

What is the intention of these works?

The ‘Retroactive’ public art intervention is a one of the strategies around the 25th World Congress on Architecture which aims to debate and discuss alternatives for the design and delivery of more habitable, functional and beautiful cities. Here we see storm water drain covers turned into artworks that exist in an interactive public space in Durban, South Africa.

Who was involved?

This intervention was conceptualised and developed by Bren Brophy and Terry-Anne Stevenson together with the participating artists, Joseph Manana, Thami Jali and Lalelani Mbhele, with mentorship from Architect Tsidi Moahloli.    

The Context

The project focuses on South African architectural heritage and history as well as the socio-political and cultural landscape - this on the occasion of the anniversary of 20 years of democracy in South Africa (in 2014).

The painting of these stormwater drain covers was a type of performance art as it engaged a curious public as the painting progressed - giving rise to questions and discussions aimed at attitude change.

[The project fits in with the school’s NCS Curriculum Theme 2: South African artists influenced by African and/or indigenous art forms]

Pastels on paper

Village - Acrylic on board 62cm diameter

Thami Jali is one of the artists from KwaZulu Natal who has researched the indigenous architecture from this province in a number of drawings done in pastels on paper. He has then developed these into acrylic paintings and finally into stormwater cover paintings.

 

          

            

         

What is interesting in all of these paintings is that the format has had to be circular - the shape of a stormwater drain. This is very different from looking through the rectangular viewfinder of a camera, and it gives us - literally - another viewpoint of our local architectural heritage.
It is unexpected and unusual and asks us to look again! 
 

Jali has chosen to work directly using the element of expressive colour. The intensity of the greens and blues of the KZN summer landscape have been captured in both his pastel drawings and his acrylic paintings. However - in the pastel drawing - he has used these blues in the walls of the buildings for expressive purposes. 

Drawing - Pastels on paper

Jali’s acrylic paintings remain closer to the natural (‘local’) colour of the thatch and whitewashed mud brick, although the oranges and browns have been intensified for artistic (‘aesthetic’) reasons.

Single Hut - Acrylic on board 62cm diameter

Jali’s use of strong intensive colour has more impact, however, than the use of space and so this colour tends to flatten the circle again into areas of expressive colour shapes.
His technique of  paint application is loose and gestural which increases the expressive quality of the paintings. 
This paint application also gives us an idea of the linear texture of the thatch.

Jali’s use of vernacular architecture as an inspiration for painting in this Durban context provides an interesting contrast for us between the hi-tech urban cityscape and the celebration of our alternative architectural heritage.

Read more about this in Architect Tsidi Moahloli’s article on 
Retroactive: A Harmony in Resilience, Ecology and Values

Article by the ArtTeam 2014

Portraiture at the KZNSA gallery - 'Youth Voices' - June 2014

.......it's the new BLACK!

The culture of selfies has certainly reinforced the fact that portraiture is the new black! Documenting the human figure through art has been a recurring motif throughout the work submitted for the 'what u say 'bout what? show.

Image from: http://www.realclear.com/entertainment/2013/11/20/worst_celebrity_selfies_word_of_the_year_4175.html

Which leds us to discuss the following questions: Where did selfies come from? What differentiates fine art portraiture from selfies/snapshots? And why should portraits be included in a youth social art show at the KZNSA Gallery?

The first thing that strikes me about the 'selfie' culture is the numerous people I have caught posing in the oddest places - like in front of the shiny finish of Musgrave Shopping centre’s lift or in the middle of a car park. You see the selfie trend is about more than capturing a person's image! In fact a selfie aims to improve one’s status by using camera cropping to create an image that captures a sense of class.  For example the selfie of a girl in pink accessories sexily propped up by a gleaming red car could be arriving at the Oyster Box...but what fascinates me is that the real location is a block of flats in suburban Musgrave surrounded by very ordinary looking neighbours shuffling around in their gardening clothes.

Thus the first step to creating a successful portrait is capturing the essence of the scene by locating the figure within in a background and cropping the image to capture the mood.  

Thus the images surrounding Muhlali and Wolmerans’ work express the mood created by these political figures.

Artist: Christine Wolmerans

Medium: Graphite on paper

Grosvenor Girls High School

Mabuto

Artist: Azuri Muhlali

Medium: Pencil crayon on paper

However, as discussed previously, art is both part of and separate to popular culture.  Thus whilst selfies may be the current trend in social media style, fine art portraiture has been around for centuries.  Historically kings, nobles and religious figures were the only people who could afford to have their images immortalized in art.  The Renaissance altered portraiture history by using objects, such as globes, to capture the status and personality of the sitter (Fabulousnoble.com, 2014).  

Thus over time the identity of portrait figures has slowly changed from important figures to ordinary people and the invention of the camera means that immortalising one’s image is affordable for the general public.  Thus the current challenge in portraiture is to create a portrait that stands out amongst the multitude of selfies.

Court portrait of Empress Renhuai (1016–1079) (wife of Emperor Qinzong) of Song Dynasty, Chinese

Image from: http://en.wikipedia.org/wiki/Portrait_painting

Image From: http://www.fabulousnoble.com/a-brief-history-of-portraiture

One aspect that separates art from selfie culture is the artist’s ability to express the unseen.  A selfie is produced by clicking a machine button whereas the process of applying marks on paper allows the artist to access their imagination. Suddenly the buttons available are a lot more than a mere crop, good lighting and succinct timing. For example the artist can add horns to create humour.

 

Funny Self Portrait

Artist: Mlungisi Myeni

Medium: Charcoal on paper

Ekupheleni High School

Frida Kahlo self-portrait, entitled The Broken Column

Image from: http://www.dailymail.co.uk/femail/article-2239100/Frida-Kahlos-fascinating-wardrobe-exhibited-home-shared-Diego-Rivera-Mexico-City.html

Selfie photographers are confined to the here and now...sure you can alter when you post the picture to social media: for example there is guy who is currently sitting in Westville Prison but his Facebook feed says he was at Vida e. Clearly the social media sharing system is open to deception! But the point is: A machine cannot create an image of the future, whereas an artist can! Artists can create an image that exists outside of time. In fact artist’s images can rewrite how we perceive time.  For example Roanne Moodley’s work comments on how the police violence in Marikana is similar to the way that the Apartheid government opened fire on school children in the 1976 uprising in Soweto.

Where to? Where from?

Artist: Rozanne Moodley

Medium: Pencil crayon on board

Durban Girls High School

Another example of creating visions of the future is Anna Ballatine’s stunning portrait of herself as a Hollywood star.  This drawing was created while Anna was still a matric student at Durban Girls High School.

Artist: Anna Ballentine

Medium: Graphite on paper

Durban Girls High School

Artists also have the ability to combine different mediums to create different messages. For example Mbali Shibane has used wax and lino prints to illustrate the fragility of the female figure.  

Artist: Mbali Shibane

Medium: Linocut print on canvas/candle wax

Creating a portrait on an interesting surface can add to the meaning of the work for example Cherise Maharaj’s has used a page of the Daily News to illustrate the job market’s effect on our perception of others.

Fighting for Position

Artist: Cheriese Maharaj

Medium: Acrylic on canvas

Durban North College

An effective title can change the meaning of an image, for example Brenda Freese changed our perception of her painting of a child with a baby on her back by titling it “The Little Homemaker”.

The Little Homemaker

Artist: Brenda Freese

Medium: Oil on canvas

Centre for Fine Art and Animation Design

Hanekom’s  work illustrates how combining multiple angles in a single work can create an interesting representation of a person.

Artist: Tamaryn Hanekom

Medium: Watercolour on paper

Sometimes the scale of a portrait transforms its meaning. For example Mthobisi Maphumulo’s work is very effective because it is 153 x 130 cm!

u Sipho Nembowula

Artist: Mthobisi Maphumulo

Medium: Oil, pastel on paper, 2013

The mark-making in Mchunu’s portraits is absolutely exquisite and the artist definitely justifies choosing a hand-generated medium over photography .

Artist: Kanyelihle Mchunu

Medium: Mixed media on paper

Velobala

Artist: Kanyelihle Mchunu

Medium: Mixed media on paper

Velobala

Artist's portraits also have a physicality and a lens that transcends the human eye. For example the roughness of Kanyelihle Mchunu’s paint application captures the bride’s anxiety.

Painting by Kanyelihle Mchunu, from Velobala

Thus art is a representation of reality and the authenticity of the artwork's statement is established through the process of creating and sharing the image with the world.

So the next time you set out to capture someone’s likeness think about how you will use the language of art to add to your figure’s sense of importance.

Fabulousnoble.com, (2014). A Brief History Of Portraiture. [online] Available at: http://www.fabulousnoble.com/a-brief-history-of-portraiture [Accessed 10 Jun. 2014].