Anton and Vale van der Merwe: reinterpreting Afro-Oriental studio ceramics traditions in South Africa
- Authors: Steele, John
- Date: 2015
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/968 , vital:30077
- Description: Growing awareness of ancient Chinese Song and Yuan ceramics, amongst other Oriental traditions, by people with western connections such as Bernard Leach and Michael Cardew, in conjunction with influences from Japanese associates such as Soyetsu Yanagi, Kenkichi Tomimoto, and Shoji Hamada, (De Waal 1997, Harrod 2012, Kikuchi 1977, Leach 1976) has had many consequences. It spread a consciousness idealizing self-sufficient pottery studios where potters were in touch with all aspects of creating utilityware, largely from local materials for local use. Out of this emerged an Anglo-Oriental studio ceramic philosophy of form and practice, associated mainly with hand-made high temperature reduction fired ceramics. These ideas spread to South Africa in the late 1950s, and by the early 1960s local studios were being established along these lines. This studio ceramics movement grew exponentially in South Africa, initiating a phase of Afro-Oriental ceramics that remains a powerful way of life and visual arts influence. This paper seeks to explore aspects of Afro- Oriental studio ceramics in South Africa, with particular reference to the Leach/Hamada/Cardew to Rabinowitz, and Van der Merwe lineage.
- Full Text:
- Date Issued: 2015
- Authors: Steele, John
- Date: 2015
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/968 , vital:30077
- Description: Growing awareness of ancient Chinese Song and Yuan ceramics, amongst other Oriental traditions, by people with western connections such as Bernard Leach and Michael Cardew, in conjunction with influences from Japanese associates such as Soyetsu Yanagi, Kenkichi Tomimoto, and Shoji Hamada, (De Waal 1997, Harrod 2012, Kikuchi 1977, Leach 1976) has had many consequences. It spread a consciousness idealizing self-sufficient pottery studios where potters were in touch with all aspects of creating utilityware, largely from local materials for local use. Out of this emerged an Anglo-Oriental studio ceramic philosophy of form and practice, associated mainly with hand-made high temperature reduction fired ceramics. These ideas spread to South Africa in the late 1950s, and by the early 1960s local studios were being established along these lines. This studio ceramics movement grew exponentially in South Africa, initiating a phase of Afro-Oriental ceramics that remains a powerful way of life and visual arts influence. This paper seeks to explore aspects of Afro- Oriental studio ceramics in South Africa, with particular reference to the Leach/Hamada/Cardew to Rabinowitz, and Van der Merwe lineage.
- Full Text:
- Date Issued: 2015
Maximum firepower: Vale van der Merwe, an emergent ceramic artist at Starways Arts, Hogsback, Eastern Cape, South Africa
- Authors: Steele, John
- Date: 2015
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/979 , vital:30078
- Description: Vale van der Merwe has been working as a ceramic artist for the past five years, and in that time has developed a remarkably diverse repertoire of both thrown and handbuilt works. These include rapidly thrown utilityware as well as carefully conceived sculptural works that engage with ideas rather than primarily with function. She also makes full use of opportunities offered by high-temperature woodburn firings, and despite works collapsing while being made, breaking while being carried to the kiln and slumping during firing, she has used such occasions as opportunities for learning rather than despondency. Van der Merwe is also an actively hands-on ceramic artist who engages with all levels of tasks associated with studio ceramics in a village setting, so has found herself, for example, both creating a new chimney for the kiln, and simultaneously leading discussion around concepts for new collaborative exhibitions. There is a seriousness of intent combined with infectious confidence evident in both her daily presence and ceramics, and it is hoped that she will develop her repertoire and thinkings even further in forthcoming years.
- Full Text:
- Date Issued: 2015
- Authors: Steele, John
- Date: 2015
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/979 , vital:30078
- Description: Vale van der Merwe has been working as a ceramic artist for the past five years, and in that time has developed a remarkably diverse repertoire of both thrown and handbuilt works. These include rapidly thrown utilityware as well as carefully conceived sculptural works that engage with ideas rather than primarily with function. She also makes full use of opportunities offered by high-temperature woodburn firings, and despite works collapsing while being made, breaking while being carried to the kiln and slumping during firing, she has used such occasions as opportunities for learning rather than despondency. Van der Merwe is also an actively hands-on ceramic artist who engages with all levels of tasks associated with studio ceramics in a village setting, so has found herself, for example, both creating a new chimney for the kiln, and simultaneously leading discussion around concepts for new collaborative exhibitions. There is a seriousness of intent combined with infectious confidence evident in both her daily presence and ceramics, and it is hoped that she will develop her repertoire and thinkings even further in forthcoming years.
- Full Text:
- Date Issued: 2015
Sculpting with fire: celebrating ephemerality at AfrikaBurn 2015 in the Tankwa Karoo, South Africa
- Authors: Steele, John
- Date: 2015
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/957 , vital:30075
- Description: Land art, and some installation art, is usually aimed at relatively temporarily manipulating the surface of the earth. AfrikaBurn takes place annually in the near-desert of the Tankwa Karoo, South Africa. It is a communal event unique to Africa, and manifests as a fleeting week-long series of interventions in the natural environment, partially aimed at creating and then actively destroying free-standing public sculptures, some of which are huge and intricate. AfrikaBurn gives any one of the thousands of participants an opportunity to be inspired on any scale to generate artworks that take into account a principle that no debris whatsoever is left behind on the surface of the earth after a week-long celebration of creative energies. Unlike, for instance, an artwork built on the edge of the Indian Ocean in the Eastern Cape, where rough tidal seas would ensure gradual destruction, at AfrikaBurn, the sacrificial method of choice is controlled rapid burning, under the direction of a specified firemaster. This paper seeks to unbundle some aspects of land and installation art in Southern Africa with specific reference to AfrikaBurn 2015 events and anti-fracking initiatives. This is within a context that takes into account recognition that even seemingly durable public sculptures are subject to change and may even physically disappear with the passing of time.
- Full Text:
- Date Issued: 2015
- Authors: Steele, John
- Date: 2015
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/957 , vital:30075
- Description: Land art, and some installation art, is usually aimed at relatively temporarily manipulating the surface of the earth. AfrikaBurn takes place annually in the near-desert of the Tankwa Karoo, South Africa. It is a communal event unique to Africa, and manifests as a fleeting week-long series of interventions in the natural environment, partially aimed at creating and then actively destroying free-standing public sculptures, some of which are huge and intricate. AfrikaBurn gives any one of the thousands of participants an opportunity to be inspired on any scale to generate artworks that take into account a principle that no debris whatsoever is left behind on the surface of the earth after a week-long celebration of creative energies. Unlike, for instance, an artwork built on the edge of the Indian Ocean in the Eastern Cape, where rough tidal seas would ensure gradual destruction, at AfrikaBurn, the sacrificial method of choice is controlled rapid burning, under the direction of a specified firemaster. This paper seeks to unbundle some aspects of land and installation art in Southern Africa with specific reference to AfrikaBurn 2015 events and anti-fracking initiatives. This is within a context that takes into account recognition that even seemingly durable public sculptures are subject to change and may even physically disappear with the passing of time.
- Full Text:
- Date Issued: 2015
Outside city limits: introducing Anton van der Merwe of Starways Arts, in Hogsback, Eastern Cape, South Africa
- Authors: Steele, John
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/1012 , vital:30191
- Description: Certain contemporary artists in South Africa choose to live in rural areas rather than in cities. This paper explores some reasons for this preference, and also looks at countercultural back-to-the-earth trends and other factors that may have encouraged some of these artists to prefer to live and work in rural settings. It is against this background that artist Anton van der Merwe is introduced and his early choices of spaces in which to work, both as a potter and painter, are examined. This background serves to contextualise his decision, made in 1992, to move home and studio from Midrand in Gauteng to Hogsback village, in rural Eastern Cape. Hardships were faced, artistic growth has been experienced, and a flourishing visual arts practice has been established by him at Starways Arts. In conclusion, it is noted that involvement in aspects of local community affairs have resulted in widespread mutual benefit.
- Full Text:
- Date Issued: 2014
- Authors: Steele, John
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/1012 , vital:30191
- Description: Certain contemporary artists in South Africa choose to live in rural areas rather than in cities. This paper explores some reasons for this preference, and also looks at countercultural back-to-the-earth trends and other factors that may have encouraged some of these artists to prefer to live and work in rural settings. It is against this background that artist Anton van der Merwe is introduced and his early choices of spaces in which to work, both as a potter and painter, are examined. This background serves to contextualise his decision, made in 1992, to move home and studio from Midrand in Gauteng to Hogsback village, in rural Eastern Cape. Hardships were faced, artistic growth has been experienced, and a flourishing visual arts practice has been established by him at Starways Arts. In conclusion, it is noted that involvement in aspects of local community affairs have resulted in widespread mutual benefit.
- Full Text:
- Date Issued: 2014
Some reflections on two rural potter's cooperatives in the Port St Johns region of the Eastern Cape, South Africa
- Authors: Steele, John
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/1001 , vital:30181
- Description: Two potters in the Port St Johns region of the Eastern Cape province of South Africa have been founder members of different visual arts producer’s cooperatives during the 1980s as part of development initiatives aimed at sustainable economic empowerment. These potters are Debora Nomathamsanqa Ntloya of Qhaka village in the Caguba area and Alice Gqa Nongebeza of Nkonxeni village in the Tombo area. They both engaged in zero electricity, using ceramics praxis and used variants of open bonfiring techniques to finish off their works. This article looks at aspects of formation and administration of such potter’s cooperatives, as well as at types of ceramics technology used and resulting works, and also at some marketing strategies and outcomes. It will be seen that these are factors that impact directly on why some such cooperatives are successful for long stretches of time, and others become defunct or dormant. Furthermore, Debora Nomathamsanqa Ntloya is now largely retired from clayworking, and Alice Gqa Nongebeza passed away in 2012, so a question arises as to whether their ceramic traditions will be continued in the years to come.
- Full Text:
- Date Issued: 2014
- Authors: Steele, John
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/1001 , vital:30181
- Description: Two potters in the Port St Johns region of the Eastern Cape province of South Africa have been founder members of different visual arts producer’s cooperatives during the 1980s as part of development initiatives aimed at sustainable economic empowerment. These potters are Debora Nomathamsanqa Ntloya of Qhaka village in the Caguba area and Alice Gqa Nongebeza of Nkonxeni village in the Tombo area. They both engaged in zero electricity, using ceramics praxis and used variants of open bonfiring techniques to finish off their works. This article looks at aspects of formation and administration of such potter’s cooperatives, as well as at types of ceramics technology used and resulting works, and also at some marketing strategies and outcomes. It will be seen that these are factors that impact directly on why some such cooperatives are successful for long stretches of time, and others become defunct or dormant. Furthermore, Debora Nomathamsanqa Ntloya is now largely retired from clayworking, and Alice Gqa Nongebeza passed away in 2012, so a question arises as to whether their ceramic traditions will be continued in the years to come.
- Full Text:
- Date Issued: 2014
Starways Arts: a built environment expressing holistic lifestyles dedicated to visual and performing arts in Hogsback, Eastern Cape, South Africa
- Authors: Steele, John
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/990 , vital:30179
- Description: In 1992, Anton van der Merwe and his life partner Gwyneth Lloyd moved from Randjesfontein Pottery in Midrand, between Johannesburg and Pretoria, to an undeveloped smallholding in the densely forested rural village of Hogsback. The past 22 years have seen an ongoing process of settling down and construction of necessary buildings. This paper seeks to explore aspects of philosophical and architectural influences that served as some of the foundation stones for creation of an eclectic series of buildings, including their home, visual arts studios, a gallery, a community theatre and guest accommodation. A review of these buildings will show that Van der Merwe and Lloyd have developed an idiosyncratic construction style that incorporates alternative technology with empathetic use of natural resources, which results in organically flowing living and working spaces that are fit for purpose, have substantial presence and have minimal environmental impact.
- Full Text:
- Date Issued: 2014
- Authors: Steele, John
- Date: 2014
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/990 , vital:30179
- Description: In 1992, Anton van der Merwe and his life partner Gwyneth Lloyd moved from Randjesfontein Pottery in Midrand, between Johannesburg and Pretoria, to an undeveloped smallholding in the densely forested rural village of Hogsback. The past 22 years have seen an ongoing process of settling down and construction of necessary buildings. This paper seeks to explore aspects of philosophical and architectural influences that served as some of the foundation stones for creation of an eclectic series of buildings, including their home, visual arts studios, a gallery, a community theatre and guest accommodation. A review of these buildings will show that Van der Merwe and Lloyd have developed an idiosyncratic construction style that incorporates alternative technology with empathetic use of natural resources, which results in organically flowing living and working spaces that are fit for purpose, have substantial presence and have minimal environmental impact.
- Full Text:
- Date Issued: 2014
Finding the best clay: experiences of rural potter Alice Gqa Nongebeza contextualised
- Authors: Steele, John
- Date: 2013
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/1023 , vital:30216
- Description: When creating artefacts that belong in the material world artists choose specific raw materials for particular reasons, including that selected resources are accessible and well suited to fitness for purpose and expression of intentions. Many potters in Africa are engaged in zero electricity usage ceramics practice, and each creative cycle usually starts with extracting clay from local sites according to preferences and well established procedures that may sometimes include certain rituals. Ways in which some potters who source their own clay are particular about certain factors that are thought to be capable of influencing the effectiveness of physical properties of that raw material are explored, with particular reference to what is known about the practices of Eastern Cape potter Alice Gqa Nongebeza, of Nkonxeni Village [31°37‘59.66“S, 29°23‘22.26“E], Tombo, near Port St Johns. Specific choices enacted by potters when gathering and using clayey raw materials are considered in order to better understand some aspects of conceptual and social frameworks that may influence clay extraction procedures. Thus, by means of comparisons between particular potter’s practices, as well as through analysis of interview material and observed events, this paper aims to contextualise how it transpired, inter alia, that clay seams close to the Nongebeza homestead were ignored by her in favour of a relatively distant and almost inaccessible site that yielded a particular clay well suited to her unique firing style of placing raw ware onto an already roaring bonfire, thereby effectively creating pots for daily use and enjoyment
- Full Text:
- Date Issued: 2013
- Authors: Steele, John
- Date: 2013
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/1023 , vital:30216
- Description: When creating artefacts that belong in the material world artists choose specific raw materials for particular reasons, including that selected resources are accessible and well suited to fitness for purpose and expression of intentions. Many potters in Africa are engaged in zero electricity usage ceramics practice, and each creative cycle usually starts with extracting clay from local sites according to preferences and well established procedures that may sometimes include certain rituals. Ways in which some potters who source their own clay are particular about certain factors that are thought to be capable of influencing the effectiveness of physical properties of that raw material are explored, with particular reference to what is known about the practices of Eastern Cape potter Alice Gqa Nongebeza, of Nkonxeni Village [31°37‘59.66“S, 29°23‘22.26“E], Tombo, near Port St Johns. Specific choices enacted by potters when gathering and using clayey raw materials are considered in order to better understand some aspects of conceptual and social frameworks that may influence clay extraction procedures. Thus, by means of comparisons between particular potter’s practices, as well as through analysis of interview material and observed events, this paper aims to contextualise how it transpired, inter alia, that clay seams close to the Nongebeza homestead were ignored by her in favour of a relatively distant and almost inaccessible site that yielded a particular clay well suited to her unique firing style of placing raw ware onto an already roaring bonfire, thereby effectively creating pots for daily use and enjoyment
- Full Text:
- Date Issued: 2013
Anatomy of a pottery bonfiring in the Port St Johns region, Eastern Cape, South Africa
- Authors: Steele, John
- Date: 2012
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/1034 , vital:30232
- Description: This paper seeks to document and contextualise the unique bonfiring methods of octogenarian potter Alice Gqa Nongebeza, who works from her homestead at Nkonxeni village in the Tombo area near Port St Johns. Her firing technique is compared with those of fellow local potters Debora Nomathamsanqa Ntloya and Nontwazana Dunjana. These three Mpondo potters, and their understudies, create ceramic utilityware and other items for a mainly local market that sometimes also appeals to collectors and tourists. Although they are aware of each other, they use their own clay sources and clayworking methods, and have evolved very different firing techniques. This paper, with reference also to potters in KwaZulu-Natal, shows that Nongebeza, in particular, has developed a rare approach to firing, and calls for the inclusion of her type of firing technique in African firing lexicons. It also calls for greater attention to sequential firing detail as practised by individual potters, in forthcoming reports that add to knowledge about zeroelectricity- usage ceramics production in southern Africa, and elsewhere.
- Full Text:
- Date Issued: 2012
- Authors: Steele, John
- Date: 2012
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/1034 , vital:30232
- Description: This paper seeks to document and contextualise the unique bonfiring methods of octogenarian potter Alice Gqa Nongebeza, who works from her homestead at Nkonxeni village in the Tombo area near Port St Johns. Her firing technique is compared with those of fellow local potters Debora Nomathamsanqa Ntloya and Nontwazana Dunjana. These three Mpondo potters, and their understudies, create ceramic utilityware and other items for a mainly local market that sometimes also appeals to collectors and tourists. Although they are aware of each other, they use their own clay sources and clayworking methods, and have evolved very different firing techniques. This paper, with reference also to potters in KwaZulu-Natal, shows that Nongebeza, in particular, has developed a rare approach to firing, and calls for the inclusion of her type of firing technique in African firing lexicons. It also calls for greater attention to sequential firing detail as practised by individual potters, in forthcoming reports that add to knowledge about zeroelectricity- usage ceramics production in southern Africa, and elsewhere.
- Full Text:
- Date Issued: 2012
Potter's fingerprints: some prehistoric southern African utilityware in an intimate light.
- Authors: Steele, John
- Date: 2003
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/945 , vital:30070
- Description: Extensive archaeological excavations in southern Africa during the past century have revealed a richly described heritage of widely distributed First-Millennium (C.E.) Agriculturist ceramics. In viewing both artefacts and assessments thereof it can be observed that ways of thinking shape ways of seeing, and explanations ofwhat is seen. Thus, because conceptual frameworks are inseparable from what is observed and explanations that result, consideration is given to some particular mindsets that have led to recent theories concenring local prehistoric material culture. In conclusion, a brief look at dialogues initiated by some contemporary potters who interrogate cherished lifeways and belief systems serve to elucidate current trends towards finding meaning in prehistoric southern African ceramics.
- Full Text:
- Date Issued: 2003
- Authors: Steele, John
- Date: 2003
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/945 , vital:30070
- Description: Extensive archaeological excavations in southern Africa during the past century have revealed a richly described heritage of widely distributed First-Millennium (C.E.) Agriculturist ceramics. In viewing both artefacts and assessments thereof it can be observed that ways of thinking shape ways of seeing, and explanations ofwhat is seen. Thus, because conceptual frameworks are inseparable from what is observed and explanations that result, consideration is given to some particular mindsets that have led to recent theories concenring local prehistoric material culture. In conclusion, a brief look at dialogues initiated by some contemporary potters who interrogate cherished lifeways and belief systems serve to elucidate current trends towards finding meaning in prehistoric southern African ceramics.
- Full Text:
- Date Issued: 2003
Revisiting nomenclature: 'Early Iron Age', 'First-Millennium Agriculturist', or what?
- Authors: Steele, John
- Date: 2001
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/934 , vital:30067
- Description: As an art historian who has recently become fascinated by First-Millennium Agriculturist ceramics, I have come across several attempts at dealing with an issue of appropriate nomenclature for desigrrating this era. Conceptual frameworks are articulated using words, yet an apparent discomfort with the term Early Iron Age has seemingly not led to a consistently used altemative. I have been wondering about this and, with respect, offer my thoughts on the matter in a hope that debate will be furthered. Hereunder I utilise aspects of the KwaZulu-Natal and Eastem Cape first millennium ceramic sequence to address some significances associated with such artefacts in interpretations of the past, and then discuss some ways in which ideas of particular social contexts are embedded in language. Thereafter introduction of the term Iron Age into South African archaeology is referred to with reference to past and current usage, and advantages/disadvantages of alternatives are suggested.
- Full Text:
- Date Issued: 2001
- Authors: Steele, John
- Date: 2001
- Language: English
- Type: text , Article
- Identifier: http://hdl.handle.net/11260/934 , vital:30067
- Description: As an art historian who has recently become fascinated by First-Millennium Agriculturist ceramics, I have come across several attempts at dealing with an issue of appropriate nomenclature for desigrrating this era. Conceptual frameworks are articulated using words, yet an apparent discomfort with the term Early Iron Age has seemingly not led to a consistently used altemative. I have been wondering about this and, with respect, offer my thoughts on the matter in a hope that debate will be furthered. Hereunder I utilise aspects of the KwaZulu-Natal and Eastem Cape first millennium ceramic sequence to address some significances associated with such artefacts in interpretations of the past, and then discuss some ways in which ideas of particular social contexts are embedded in language. Thereafter introduction of the term Iron Age into South African archaeology is referred to with reference to past and current usage, and advantages/disadvantages of alternatives are suggested.
- Full Text:
- Date Issued: 2001
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