M.Tech. (Fine Art) / In this study, I explore the way in which materials and biomorphic forms are used in selected artworks to convey aspects of gendered and cultural identity constructs. This is done with specific reference to Nicholas Hlobo’s work and to the artwork I produce as part of the practical component of my research. I have chosen Hlobo’s installation Izithunzi (2009) because it is a pertinent example of the way in which he uses biomorphic form and typifies his use of materials, both of which have some similarities to my work. Although Hlobo’s use of materials is widely discussed in the available literature on his work, little has been written on his use of biomorphic form. To address this gap in the literature, I look specifically at how Hlobo uses biomorphic form in Izithunzi to represent what I argue to be the hybridity of his gendered and cultural identity. In the practical component, I present a series of sculptures made from second-hand furniture, polystyrene, concrete, plastic, stuffing, fabric, thread, steel pipe and fibreglass. As Hlobo does in Izithunzi, I consciously make reference to biomorphic forms.
| Identifer | oai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:uj/uj:13754 |
| Date | 15 July 2015 |
| Source Sets | South African National ETD Portal |
| Detected Language | English |
| Type | Thesis |
| Rights | University of Johannesburg |
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