Making Creative Connections: The Thinking Behind Art
Copyright © Lethithemba Skills Development Organisation 2008
AA 544 UMLAZI 4031, Kwazulu-Natal, South Africa
ISBN 978-0-620-4OO54-1
© All Rights reserved.
DEDICATION
This book is dedicated to the artists whose artworks are represented in this book and to young aspiring artists.
Introduction
This book is inspired by the need to understand the thinking behind art, particularly painting, drawing as well as sculpture. This will be done by drawing on interviews with young aspiring artists. Each artist presented here, provides an interpretation of his/her work of art. Of particular interest is that the artists presented in this book come from diverse social backgrounds and this is reflected in their artworks. The artists represented here have used art making as a way of dealing with social issues and of connecting with the landscape and the world around them. Others have explored art making as a way of portraying their experiences.
Why do we have to understand the thinking behind art?
Understanding of the meaning behind art with which we come across is never easy. While some of us find it easy to communicate verbally, some cannot express themselves easily in language. For the latter, the arts may provide another way of communication as will be seen in this book. Understanding of the thinking behind art might help:
- Instill in us an appreciation of art,
- Understand that art can be used as vehicle of expressing emotions: joy and pain, happiness and sadness, the brighter and the darker side of life,
- Promote empathy and
- Encourage respect for the arts not only as a tool of self-expression but also as a profession.
Certainly, some understanding that art is not rendered just for “art-for-art’s sake” is essential to a fuller appreciation of all art forms. Understanding of art might dispel the view of art as decorative objects and art making as past-time activity. It is critically important that educators, in particular, gain some insight into other functions of art. As we shall see from drawings and paintings presented in this book and these include, among others:
- spiritual development,
- encouraging morality,
- therapeutic use and
- providing human satisfaction
Interviews with aspiring artists
In order to gain insight into the thinking behind drawings and painting rendered by some young aspiring artists, I conducted interviews with them whereby they described their artworks. Interviews were conducted in Zulu and were then translated into English. Care was taken to maintain precise meaning and interviewed artists ascertained that this was the case. I cannot emphasise enough that the whole experience was overwhelming. The very experience heightened my appreciation of art and deepened my understanding of the role of art in general. As arts and culture educator I have come to understand why children feel frustrated when they are not given the opportunity to express themselves through the medium of art. The main focus of the interviews with the artists was on the subject matter. Now, let’s examine what these artists say about their artworks.
Bheki Ntshingila
Artist’s biography
Bheki was born on the 18th of December 1986 at Umlazi Township Swelihle High School
As a talented artist, Bheki is comfortable working with any medium. He works perfectly with any type of medium ranging from oil paint, charcoal, pencil crayons, ballpoint to pastels. Most of his artworks are dominated by red, blue and green. For him, red symbolises life, blue portrays sadness as well as happiness. Green symbolises nature. It is against this background that Bheki’s artworks should be understood. His work of art is meant to be appreciated by all age groups.
The formative years
Drawings in figure 1-10 portray various stages of how I started developing creative processes of art making. Figure 1-3 shows early stages of my art making and my drawings are simply. It was during this phase that I drew and painted people, animals, houses, cars and nature as my favorite subjects and these drawings did not have any significant meaning. It was during my high school phase that I began to improve my drawing skills and became confident in my ability to draw and paint well.
1. Untitled, 1999
2. The fisherman, 1999
3. Mother and child, 1999
4. Untitled, 2001
After 2004 my ability to make meaningful paintings improved drastically. It was during this period that I began to think deeply about my life. The following artworks (figure 11-18) are a reflection of my childhood life and experiences. My subject matter canters around my grandmother as well as my grandfather. This enabled me to express my innermost feelings and emotions. My personal inner voice is expressed in portraits of my grandmother through the medium of painting as well as sculpture.
5. The artist and his grandmother, 2006
Having been brought up by my grandmother, my artworks precisely depict my childhood experiences and a very intimate relationship with my grandmother. This print portrays my grandmother breastfeeding me to mean that she brought me up as my biological mother. While reflecting on my grandmother's role in raising me through thick and thin, I decided to make a sculpture showing her carrying me at her back while doing other things. The vessel is empty that symbolises hunger. For this reason, my grandmother is praying as she is looking up in heaven with her eyes closed.
6. The artist at his grandmother’s back, 2006
Not only has my grandmother battled raising me up, she also took care of my cousin sister. As can be seen in the sculpture, figure 7. The sculpture depicts the misery and hardship of supporting grandchildren on a pension grant as experienced by my grandmother.
7. The artist’s grandmother carrying the artist and his sister, 2005
8 Detail
This painting further portrays the hardships with which my grandmother was faced as
she raising us on a pension grant. The old broken bicycle symbolises that my grandmother's age has advanced. At the same time green portrays hope that things will soon be ok as we are becoming adults. Circular shapes depict a never-ending struggle to make life better. While my grandmother is cycling on a broken bicycle, she is praying that she lives long enough to see us independent and be able to look after her as well. She is staring in heaven with her eyes opened wide.
9. The artist’s grandmother on a broken bicycle, 2005
This painting depicts my grandmother playing musical instrument for those who are supportive to her. She also plays for herself in order to deal with stress and forget about the misery of this world. She is one-legged which depicts her being alone because her husband has passed on. Her features portray those of a young beautiful woman which means she is energetic and does not want her aging to limit her.
My grandfather was also one of the most important people in my life. To me he was my guide and my father figure. His death in 1998 left me devastated. In his memory, I decided to cast his image in clay. This sculpture is a constant reminder of his affection for us.
11. The artist’s grandfather, 2006
Since I did not have a father as my guide, I viewed the world through my own eyes. In this painting I have used various shapes and colours to depict how I view the world without a father. For example, around the eye are different shapes: half circle, square and oval. A half circle represents incompleteness. I believe that life is like a full circle, but my life has not been a full circle because of missed opportunities such as not having my dad to guide me. As a result, I made many mistakes especially experimenting with drugs. I have deliberately used oval shape for my eye to represent my grandmother's role in nurturing me.
A blue square represents my thinking within the box. For the past 17 years I have been feeling powerless and helpless, but now I have decided to face life in the eye if I want to succeed and realise my full potentials. Blue depicts hopefulness. Now I can see light at the end of the tunnel. Flowing black circular shapes depict my life as moving from darkness to light. My life has been moving from hopelessness to a positive outlook towards life. And the green in the eye simply represents the hope I have for the future
12. One Eye: self-reflection, 2006
This painting is a reflection of how life would be if my parents did not go on separate ways. It is also representing my desire to have a woman I will love and take care of.
13. Long way to freedom, 2006
Besides painting about my personal experiences, I am also inspired by African culture. I believe it is important to preserve our culture. For example, the painting Umhlanga or reed dance is celebrating Zulu culture. This painting depicts Zulu maidens carrying reeds as they are participating in reed dance. They are proud to have preserved their virginity. As a concerned artist about the impact of HIV/AIDS pandemic, I feel this culture can go a long way in minimising the scourge of HIV/ AIDS.
14. Umhlanga, 2006
My artworks are just about anything relating to social issues such as HIV/ADIS, drug abuse and culture. For example, this drawing addresses the question of engaging in unprotected sex. The drawing sends a clear and direct message.
15. What about condoms? 2005
This drawing is aimed at warning people about the impact of HIV/AIDS as can be seen by a growing number of people dying from the pandemic. The figure of a skeleton walking down the road of death represents the messenger of death that is sent to warn people about the impact of HIV/AIDS. Death will soon follow those who won’t listen.
16. HIV/AIDS, 2005
This painting depicts my sister’s umemulo: a cultural activity which is performed when a young woman has reached age 21. A figure that is seated on the left represents my sister. Seated in the middle is my mother. While she is advising my sister on how to behave herself as she is entering another phase in life, my younger sister (seated on the right, burying her head on her knees is also listening to her words of wisdom.
17. Umemulo, 2005
I am also fascinated by traditional lifestyle. I like to paint people wearing traditional attire e.g. people wearing amabheshu, isigege etc. This painting depicts a typical rural family; a father is relaxed and is enjoying his traditional beer while his wife looks on their son.
18. The Zulus, 2005
Zanele
Artist’s biography
Zanele lives with her grandfather and her siblings. In 1980, at the age of two her parents separated. And her brother was only one year old. Consequently, they were taken to the orphanage home. Zanele did not receive formal art education as art was not offered at school. At the age of 9 she started art making as a hobby. Her teachers never took notice of her creativity. It was only her classmates who appreciated her drawings, especially girls. In 2005 she was fortunate to receive learnership scholarship to pursue her studies in visual art.
Most of her artworks deal with issues affecting women particularly women abuse. Some encourages women to be aware of their rights and that they need to uphold moral values. Zanele strongly feels that women are still dominated and ruled by men as can be seen that women in figure 19 & 21 are having their hands bound behind them. For her, art is an expression of her experiences and emotions. Some of her artworks have been inspired by being rape victim. She happens to be one of many women who have endured sexual and emotional abuse. This is captured in drawings in figure 19 & 21. She also makes paintings about landscapes. Zanele likes to use pencil crayons because she feels challenged using them and that they are inexpensive.
This painting depicts my inner struggles of dealing with my horrible experience as a rape victim. Red eyes represent savage and cruelty of the person who raped me. They also depict tears of blood I shed during and after rape ordeal. I have deliberately cut off the head in both paintings in order to conceal and to protect my identity. At the same time I paint about my experiences as a way of dealing with the painful past experiences. For me this forms part of a healing process.
Figure 22 depicts my painful experience when my parents separated in 1980. I was two year old and my brother was only one year. The drawing represents my parents. As can be seen in the necklace, the heart means the love that bonded them which resulted in us being born of them. Suddenly they broke up, as symbolised by a crack running down their face. As children we were left in the middle of nowhere without anyone to take care of us. The saddest thing is that we were taken to the orphanage home.
19. Untitled, Oil on canvas, 2006
20. Detail
The painting in figure 21 depicts man’s cruelty on women. The drawing expresses my anger in that most men deflower innocent girls and leave them with great pain. To illustrate my point, I have depicted a young woman put into a suitcase which is covered in blood. A white heart in red underwear tells of a woman’s innocence and virginity she would share with some man who will eventually leave her. It is the very innocence and trust which make most women fall prey to men.
The painting also depicts my painful and humiliating experience I went through at the age of 18 when my virginity (as represented by a white heart in red underwear) was taken away when I was raped. A suitcase portrays the burden with which I was left. This was in the form of a child and deep emotional scars I am dealing with to this very day. As can be seen, the background of the painting is dominated by black paint to depict the setting in of darkness and hopelessness in my life as a result of rape. Green is fading to represent that the event was unnatural as I was raped.
21. Untitled, 2006
22. Family Separation, 2006
This drawing means that women have the power to decide what is right or wrong for themselves. The key symbolises power that women posses. The drawing contrasts drawings in figure 19 & 21 in that although we seem to be bound, we can unbind or unchain ourselves from the shackles of abusive men.
23. Women have freedom of choice, 2006
The drawing in figure 24 was inspired by the excitement we shared as South Africans for winning the 2010 bid to host World Cup. But the question bothering me is whether we shall see 2010 given high levels of mortality due to HIV/AIDS and other causes.
Not only do my drawings reflect on our life as women, my artworks also portray sweet childhood memories as depicted in the painting in figure 25. It depicts my dad’s oldest, yet favorite wheel burrow. As his wheel burrow has aged, so is my father’s years have advanced. Behind a wheel burrow is a little flower representing my childhood. The fact that a flower is growing between the rocks represents hardships of growing without the love of parents.
25. My dad’s Wheel Burrow, 2006
Drawings in figure 26 & 27 were inspired by my love for nature. For me art making reveals hidden beauty and qualities of nature. Capturing landscapes, animals, and human beings in pencil crayons and paper helps me get inner satisfaction and healing. Drawing about nature also helps me understand a delicate relationship between man and nature.
26. Quite but dangerous, 2006
27. I am the tallest, 2006
Lucky Shinga
Artist’s biography
Lucky Shinga was born on the 4th of July 1984 at Portshepstone in KZN. He is a grade 12 learner at Sweihle High School in Kwzulu-Natal , South Africa
Lucky's artworks are aimed at the youth because they have become prone to drug/substance abuse. HIV/AIDS pandemic is high among young people. It is for this reason that the youth must be made aware of the consequences of drug/substance abuse and unprotected sex. This influence can be seen in figure 28 & 29. These drawings are aimed at showing the dark side of tavern life where some people engage in irresponsible behaviour.
28. Tavern Life, 2006
29. Tavern Life, 2006
Drawing in figure 30 shows the impact of indulging in unprotected sex. The drawing depicts a man who is regretting that he has been sleeping with many partners without using condoms. He wants to commit suicide. He is of two minds, whether to live with the consequences or hang himself. The sun symbolises hope while the rope with which he intends to hang himself depicts despair.
This drawing depicts a woman whose lungs are affected because she is a heavy smoker. She has also developed lung cancer.
31. Untitled, 2006
This portrait was inspired by some of the stories my uncle used to share with me about his experiences while he was in exile. Killings that occurred in exile make him sad and depressed. Now, he is crying as can be seen below.
32. Reflecting on past murders, 2007
Sbonelo
Artist’s biography
Born on 29 March 1986, at Umlazi Township in KwaZulu-Natal , South Africa
Most of his artworks portray his background and experiences. He also does portraits and still life drawings. often dedicates what ever he does to people who have been in political and social struggle and succeeded in life. He also wants his artwork to send a message that life is too short, people must best use available opportunities. He prefers using oil paint as his medium of painting.
The painting in figure 33 is a depiction of my past life when I was doing drugs. It is through this painting that I am able to reflect on my past mistakes. The scene in the painting portrays one of my friends who is highly intoxicated. I chose to paint a broken bottle because it is often used for smoking drugs. The bottle is closed and hasn’t been used. The person in the painting looks dead and that is what happens when a person is high. At this stage you can be a victim of rape if you are a female. There are many cases of rape and unprotected sexual activities taking place under such conditions thus getting exposed to HIV/AIDS pandemic.
The painting in figure 33 is a depiction of my past life when I was doing drugs. It is through this painting that I am able to reflect on my past mistakes. The scene in the painting portrays one of my friends who is highly intoxicated. I chose to paint a broken bottle because it is often used for smoking drugs. The bottle is closed and hasn’t been used. The person in the painting looks dead and that is what happens when a person is high. At this stage you can be a victim of rape if you are a female. There are many cases of rape and unprotected sexual activities taking place under such conditions thus getting exposed to HIV/AIDS pandemic.
33. Untitled, 2005
In life we often face situations that make us regret a lot. Being an artist has taught me to make links between dreams and life. This artwork expresses my dreams and visions. When I dream, I often dream as a person who is flying and cannot be stopped by anything. The opportunities that I get in life are like taking sand with a holed hand, I easily lose them. The hand is not of natural existence because I chose not to make complete hand features. I strongly believe that in whatever I do and that comes as an opportunity to my life, my ancestors are the main gate. They are the ones who are guiding me in all my ways. Sometimes I cast my dreams through the medium of painting and sculpture. For an example, a sculpture in figure 34 below is a complex but simple interpretation of my dream.
34. Untitled, 2005
Artwork in figure 35 was inspired by my parents. As source of inspiration and given my Christian background I dedicated the piece of artwork below to my parents. artwork also recognises God as Alfa and Omega.
Self-portraits and still-lifes are also my favourite subjects because they challenge me to reproduce a precise image that is in front of me thereby giving a careful attention to lifelike detail.
36. Self-portrait, 2005
37. Self-portrait, 2007
38, Self-portrait, 2005
Sphamandla Gumede
Artist’s biography
Born in the rural area of eMkhuze, KwaZullu-Natal, Sphamandla draws inspiration from nature and African culture. Some of his drawings examine technology and its impact on people in general. He prefers to use pencil and pencil crayons. He is also comfortable using other media such as charcoal and ballpoint. He draws just about anything of interest as will be seen in the following drawings.
African Tradition and Culture
Growing up from the countryside has inspired me to appreciate the beauty of African culture: the way people dress up in traditional attire especially when they attend cultural events such as umemulo (a party arranged for a young woman turning 21 years of age) and ancestral occasions. Although life has changed in the rural areas and is continuing to change, it is important to preserve our cultural heritage. For me, I do this by drawing people in their traditional attire as can be seen in figure 39-41.
39. Untitled
40. Untitled
41. Untitled
I also draw African household articles such as vessels as can be seen in figure 43. In the drawing are three vessels used to serve traditional beer: ukhamba and omancishane. Ukhamba is a large bowl made out of clay used for serving traditional beer (sorghum beer). In front of Ukhamba are two omancishane – a smaller bowl made out of clay also used for serving traditional beer (sorghum beer). A smaller bowl symbolises that there is no enough beer. Next to smaller bowls is a grinding bowl used for winnowing grain. All these household articles are used in different cultural, religious and social contexts. Also found in the drawing are traditional weapons. Here, the importance of a shield is protection from enemies and the spear symbolizes strength to drive away foes. Ddrawing in figure 43 also depicts traditional weapons.
Nature Conservation and Tourism
Growing from the countryside has also inspired me to appreciate the beauty of nature. Drawings in figure 44-46 were inspired by economic opportunities provided by tourism industry. My rural life has exposed me to the beauty of nature. It is the very beauty that attracts city people and tourists to the rural areas and national parks. To this end, these drawings encourage people and business to contribute towards nature conservation for the benefit of the present and the next generation.
45. The tourist
46. Art gallery
This is My World
Like any ambitious person, I also have dreams about my future. While I appreciate rural life, I also dream of having studio, a modern house and a beautiful car and things that are enjoyed by city people. These dreams are depicted in figure 47-50.
47. My Studio
48. My dream house
My obsession for cars has inspired me to design my dream cars as can be seen in figure 91 & 92. These drawings portray my dream cars.
49. My dream car
50. My dream car
The impact of technology
While some of my artworks celebrate the benefits of technological advances, other works depict the impact of technology particularly the impact of road accidents. For example, figure 51-53 portrays various disabilities as a result of road accidents. Not only do these drawings raise awareness on the impact of road accidents, but they also bring hope to physically challenged people. Drawing in figure 52 sends a simply message that victims of road accidents must believe in themselves and need not put themselves down because they can do anything regardless of their disability.
51. “I may be disabled, but I’m special”
52. Believe in yourself
Drawing in figure 53 tells of a story of Annah Davis who lost one arm in a road accident. Her life was miserable such that she tried to commit suicide. But she thought that if God wanted her to die in a car accident, she would have died. Her friends deserted her. She then registered for pension grant. She started vegetable business. Now she owns a beautiful house.
People from whom I draw inspiration
53. Sweet Home
People from whom I draw inspiration
Other drawings of mine are also inspired by people from whom I draw inspiration. One of these people is Mr. Ndoda Mnguni from eThekwini, KwaZulu-Natal , South Africa
54. Untitled, 2004
The following drawing depicts my journey from my village of uMkhuze to eThekwini. Perhaps, it would be worthwhile to give some background on how the project was initiated. My journey embarked when Mr. Mnguni read a touching story in ILanga newspaper of May 2002 about my story as I was looking for someone who could help further develop my talent. Mr. Mnguni then invited me to come to Durban
55. Untitled, 2004
1. High building structures
As I was thinking about the city, I imagined myself in the high building structures I had never dreamed I would ever see. After thinking for some time I finally decided on going to the city of Durban
2. A bridge
For me, a bridge represents the success I was to achieve in the city. It is the very bridge through which other aspiring artists from my community will use in order to realise their dreams. A bridge also represents Mr Mnguni, the one who invited me to come to the city in order to help me fulfil my dreams. I was determined to succeed so that I will also become a bridge for other aspiring artists found in my community.
3. A Television Set
A Television Set represents a bright future where my artworks would be viewed by the whole world. I strongly felt that arts and culture programmes should be flighted so that our youth can be encouraged to use arts and culture to boost the economy of our country.
4. A Star
A star also represents a bright future. We all know that when the day breaks everyone prepares to go to work while others go about their daily tasks. I thought of myself as a star to be followed by other young people so that those who don’t take the initiative would be encouraged to improve their lives. As star also represents Mr. Mnguni as the one who was going to be my guide to a bright future.
The Countryside
Figure 56 portrays life in the rural areas that is characterised by grinding poverty and underdevelopment. I anticipated finding huge differences in the city regarding the standard of living.
56. Untitled, 2004
My arrival in the city of Durban
A person wearing sun glasses in figure 99 depicts my arrival in the city. Although I was fascinated by beauty of the city, I vowed not to forget where I come from. Indeed, my expectations turned out to be true; urban areas are developed compared to my rural area of uMkhuze. People in urban area have running water, electricity, tarred road, shopping centres etc. Seeing all this, I asked myself as to when my community is going to be as developed as the urban areas. Small building represents an art center I hope to build in my community. The art center will be used as a training center as well as for hosting art exhibitions. The person who is standing under the tree in front of the audience depicts me. I am determined to go back to my community and teach aspiring artists all that I would have learned while I was in Durban
57. My arrival in Durban, 2004
57. My arrival in Durban, 2004
While I was in Durban
58. Self-portrait, 2004
This book has attempted to gain insight into the meaning behind art making. The artists presented here have succeeded in making us, as viewers, gain better understanding of the thinking behind their artworks. Their artworks have demonstrated how diverse social backgrounds and attitudes might impact on a chosen theme underlying each piece of artwork. Most important, artists presented in this book hope that their work will be appreciated by all age groups.
10. The artist’s grandmother, 2006
24. 2010 World Cup, 2006
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