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The thesis will focus on documenting, analysing and interpreting the motifs for the ceramics of Rorke’s Drift Art and Craft Centre Ecumenical (Evangelical) Lutheran Church (RDACC ELC, often called ELC Art and Craft Centre, hereinafter referred to as ‘Rorke’s Drift’) which were donated to the University of KwaZulu-Natal by Mark Bernstein. It is hoped that local indigenous narratives and visual designs in relation to Basotho and Zulu cultural identity will be outlined in the form of a catalogue. All vessel forms in the Bernstein Collection (as it will be referred to in this thesis) will focus on the figurative works and iconographic signifiers that represent local cultures. Ceramic works by the following ceramists will form the main argument of my thesis: Gordon Mbatha, Dinah Molefe, Ivy Molefe, Ephraim Ziqubu, Lindumusa Mabaso and Joel Sibisi of the Pottery Workshop. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2012.

The teoretic part comes from the historical overview of use of spiral as main motive in the process of forged bars from romanesque style up to now overlap to free creation of contemporary artists. Concept of the game subjekt comes from combination of craft technology with motive of spiral to the model object for working game. The result is game SPIRAL ? Man, do not be angry!

The Rorke's Drift Art and Craft Centre is examined in its historical context. In order to place the pottery workshop in the context of the Evangelical Lutheran Church (ELC) Arts and Crafts Centre, the history of the centre's other workshops, Fabric printing and Weaving as well as the Fine Art School will be compared and contrasted. The pottery workshop is investigated and compared with the printmaking of Rorke's Drift. A selection of Rorke's Drift ceramics from the Durban Art Gallery's collection has been selected and examined to determine some of the stylistic changes that have occurred in the Rorke's Drift Pottery studio from 1970 to 1994. Fifteen works appear in an illustrated catalogue which examines the imagery and stylistic content of each work. The similarities between the prints of Rorke's Drift artists and the ceramics are explored; gender issues are analysed. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005

The purpose has been to examine the textile artist Viveka Nygrens ́s artistry and her abstract textile expression between the years 1985 and up to 2000. This is done through an examination of Nygren ́s textile production in general and in detail through an examination of the textile expression in color, shape, and weaving techniques in two selected works. Furthermore, both the existence of the abstract expression in textile art during Nygren ́s time and the contemporary art field ́s views on and values about the relationship between art and art and craft are studied. This is done through a case study of the exhibition catalogs from the Scandinavian art triennials that were carried out within the chosen time frame.  Issues is:  What does Nygren ́s textile artistic look like? What choices does she make in her craft, regarding technology and materials? How does she use the hand weaving techniques in the abstract expression? What does the abstract textile art scene look like during the period 1985 – 2000? Are handwoven techniques used and what do the textile work look like? Are there actors who express opinions about the relationship between art and art and crafts? Theoretically, the essay is based on the concepts of art and art and craft and the field of tension that prevails between them. On the one hand it is about a creative relationship between art and art and craft, which is based on knowledge and creativity, in an individual and on the other hand it is about the excitement, in society and the field of art, in the question of what art is and what is art and craft. The survey showed that the non-imaginative abstract expression dominated the textile art scene and interest in weaving techniques fell sharply in the last year of 1995. The survey showed that the relationship between art and art and craft was very tense for each triennial. In the essay ́s investigation of the textile triennials, it emerged that on the textile art scene there has been a shift from an art form based on a craft tradition to one among other techniques on the art scene. Thus, it can also be stated that Viveka Nygren ́s artistic starting points were a craftmanship that served under her abstract art expression.

Ce mémoire dépoussière l’univers de la céramique à Montréal. Je vous transporte dans les ateliers des céramistes de la ville ainsi que dans leurs lieux d’exposition et de vente pour vous faire découvrir le parcours professionnel et la quotidienneté de ces individus, leur rapport avec l’argile, les heures de travail passées derrière les pièces que vous achetez dans les boutiques, les liens forts que peuvent entretenir les membres de cette communauté, mais aussi les tensions et les difficultés qui règnent dans cet univers. Ma recherche prend la forme d’une immersion ethnographique, basée sur une série d’entretiens semi-dirigés et sur des heures d’observation – directes et participantes – dans les lieux de vie de dix-sept céramistes à Montréal. En portant une attention particulière au parcours et au quotidien des personnes participantes à mon étude, je vous présente ma première collection de feuilletons, confectionnés après plusieurs essais et pièces ratées. Puisque très peu de recherches en sciences sociales se sont penchées sur ces groupes professionnels atypiques, ce mémoire offre un apport théorique sur les processus d’entrée et les cheminements professionnels possibles dans ces milieux ; sur l’importance des réseaux d’interconnaissance ainsi que des rapports de coopération et de compétition qui marquent les relations entre céramistes ; et sur le rôle des marchés, des expositions et de la clientèle dans le développement et l’évolution de cet univers. Inspirée par les approches interactionnistes, ce mémoire se veut également novateur en soulignant l’importance de considérer le rôle que prennent les objets, telle que l’argile dans le cas des céramistes, dans l’analyse des diverses interactions dans les métiers d’art. / This project aims to dust off the world of ceramics in Montreal. I will be taking you along with me into the workshops of several ceramic artists in the city, as well as to their exhibitions and sales venues, to give you a glimpse into the daily lives of these individuals, their connection with clay, the hours of work spent behind the pieces you buy in shops, the strong bonds within this community, as well as the tensions and challenges that prevail in this universe. Thus, my research takes the form of an ethnographic immersion based on a series of semi-directed interviews and on hours of – direct and participating – observation in the living, working, and socializing spaces of seventeen ceramic artists in Montreal. By paying close attention to the details and everyday life of my respondents, I present to you my first collection of “feuilletons” after several attempts and failed pieces. Given that very little social science research has focused on these atypical professional groups, this research offers a theoretical contribution on the processes of entry and progression in these fields; the importance of inter-knowledge networks as well as the cooperative and competitive relationships that mark the relations between ceramists; and on the role of markets, exhibitions and clientele in the development and evolution of this universe. Inspired by interactionist aproaches, this research opens up a new perspective by highlighting the importance of considering the role played by objects, such as clay in the case of ceramists, in the analysis of various interactions in arts professions.