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:
- 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:
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:
- 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:
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:
- 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:
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