Processes of pattern making in recent painting
This dissertation is an extension of my studio research. In my studio research I use the processes usually
associated with the making of decorative patterns as an integral part of my work as a painter. In my
paintings and in my dissertation those actions of pattern making that create an interplay between surfaces
charming to the eye, and the menacing hidden meanings of degeneration, destruction and underlying
aggression is investigated.
This research focuses on the manifestation of the visual impact of decorative patterns on formal as well as
the semantic levels. The meaning of patterns and motifs in patterns emerges and changes constantly as a
result of formal creative making processes. These processes are influenced by cultural forces. Thus the
transformations in patterns and pattern motifs point to the dynamic cultural forces in current South Africa.
Decorative patterns from popular South African culture, in which pattern-creating processes are linked to
the creative processes involved in recent visual art by contemporary artists, Beatriz Milhazes, Ghada Amer,
Bronwen Findlay and Leora Farber as well as to my own paintings are analyzed.
The research focuses on the ways in which patterns change and in which meanings are assigned to them.
The importance of purposeful exchange of ideas in order to bring about transformations in patterns, is
stressed. Writers such as Alois Riegl and William H. Goodyear have seen the exchanges of motifs and
meaning in patterns as an organic and orderly pocess. In reality the meanings of pattern fluctuate and is
constantly being transferred in a chaotic way. It is also fundamental that it should be considered within a
specific social and cultural context as done by Alfred Gell. The ongoing and dynamic cultural influences will
then become clear.
This dissertation is structured in three sections, in which patterns and pattern motifs which are prominent
and meaningful in the popular South African culture of the day are investigated. The âVictorian Rose
patternâ, the Springbok motif and âNdebele patternsâ are discussed. In each of these three sections
meanings and transformations of meaning in pattern motifs are closely scrutinized.
The âVictorian Rose patternâ underwent numerous transformations in South African culture. Yet, the strong
associations with its British origins still cling to it. The Springbok motif, which became part of South African
heraldry during the British colonial period, on the contrary, has transformed into a symbol of Afrikaner
nationalism. The underlying aggressiveness which developed to the motif led to its degeneration and later a
come-back as a kitsch motif in current popular culture. In the case of the visually powerful Ndebele patterns, the ethnic connotations they carried led these patterns to become artificial constructions subject to political
manipulation and power struggle.
Key
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:ufs/oai:etd.uovs.ac.za:etd-07112011-151139 |
| Date | 11 July 2011 |
| Creators | Human, Phyllis Marjorie |
| Contributors | Prof ES Human, Mrs J Allen-Spies |
| Publisher | University of the Free State |
| Source Sets | South African National ETD Portal |
| Language | en-uk |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | http://etd.uovs.ac.za//theses/available/etd-07112011-151139/restricted/ |
| Rights | unrestricted, I hereby certify that, if appropriate, I have obtained and attached hereto a written permission statement from the owner(s) of each third party copyrighted matter to be included in my thesis, dissertation, or project report, allowing distribution as specified below. I certify that the version I submitted is the same as that approved by my advisory committee. I hereby grant to University Free State or its agents the non-exclusive license to archive and make accessible, under the conditions specified below, my thesis, dissertation, or project report in whole or in part in all forms of media, now or hereafter known. I retain all other ownership rights to the copyright of the thesis, dissertation or project report. I also retain the right to use in future works (such as articles or books) all or part of this thesis, dissertation, or project report. |
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