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No description available.

No description available.

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The release of creative expression through the role of the unconscious and the conscious is discussed. The defining of a relationship between the unconscious and the conscious is addressed, with reference to the theories of Jung and Freud. The primary process, as well as the mechanisms of condensation and displacement, is referred to as supporting the transference of the unconscious in creative expression. Pictorial imagery and material content pertain to unconscious employment, in which repressed emotional and psychological issues are released. The capacity for psychic growth through art renders creative expression as a transformational agent. The interaction of the conscious and the unconscious is essential to the concept of psychic growth. The processes of integration and introspection are discussed with reference to the resolution of repressed issues and inner conflicts. The notion of psychic harmony is referred to in correlation to this resolution. The inner and outer states of creative expression are discussed with reference to the artwork as a product of the mental processes involved within its' expression. The artwork as a mode of expression is discussed with reference to Wollheim (1973). The assimilation of the external world in the process of creativity is discussed with reference to bodily activity, the act of object-solution and the structuring of these external objects. The establishing of a relationship with the external world in creative expression is discussed as a force for healing. A correlation between creativity and child play, and creativity and ritual, are referred to. Creative expression is understood as a means for psychic wholeness. Interaction with the unconscious by the conscious mind, and the expression of a unitary reality, is discussed with reference to the concept of psychic wholeness. The healing aspect of this unitary reality is discussed with reference to the act of transferring mental processes into an artwork, as well as the processes of interaction, introspection and individuation. Symbolism and healing is discussed with reference to the concept of symbolisation as a means of unconscious, emotional expression. Non-conceptual symbolism is referred to within this context. The capacity of the symbol as a means of identification, contributes to the healing process. The role of symbolism in establishing a relationship with the external world in creative expression is addressed. Symbolic functioning of consciously employed elements in my work is discussed. The principles governing my creative methodology are discussed according to conscious and unconscious employment. The application and selection of media is discussed as symbolic activity in my painting. Texture, distortion and placement of figurative form, as well as surrounding space, are unconsciously employed. Inserted objects and natural elements are referred to as pertaining to conscious employment. The paintings are discussed individually according to the series in which they apply. The sub-titles regulating this discussion are indications of the psychic transformation involved within the creative process. The creative process is an expression of personal transformation.

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The legacies of colonialism and apartheid echo in many forms of social practice in contemporary South Africa. Ibhish' laseThekwini (the Durban beachfront), a seaside public space, is imbued with a racialized tension that stems from these colonial histories. Historically, the beach was the nation's premier seaside destination and drew crowds of white beachgoers, particularly during the summer holiday season. Beach culture was established and sustained through visualisation, particularly in popular culture and media, which largely catered to white people. The beach pictorial archives housed at the Old Court House Museum eThekwini reflects this bias, as we find that in it, the predominance of white beachgoers is depicted throughout the beach's history. Since the 1990s, demarcations of those previously white beach areas changed with more Black beachgoers in the predominantly public beaches and white beachgoers relegating themselves in more secluded (lesser public and more private) areas. I have been documenting Black beachgoers to understand the nuances of Black social life ebhishi (at the beach). In the understanding of this social life, one of the notions that become important is the ocean as a witness. We might think of the ocean as a subject which holds memory. This is particularly important in my work as it looks at how I relate to the ulwandle (the ocean) and engage with the beach as a meeting point of Black people in summer holidays, and as an articulation of an unnameable space (a metaphysical realm) beyond the constraints of capitalist leisure which is crucial for spiritual survival. Through my work, I'm contributing to a contemporary archive of Black social life ebhishi, one with humanising, tender and intimate moments aimed at inscribing our place in the seaside eThekwini.