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24 February 2023 | Story Leonie Bolleurs | Photo Supplied
The Annual Final-Year Student Exhibition of the Department of Fine Arts will be open for viewing at the Johannes Stegmann Gallery until 24 March 2023.

The Annual Final-Year Student Exhibition of the Department of Fine Arts at the University of the Free State is underway.

The exhibition, which is on display in the Johannes Stegmann Gallery on the ground floor of the UFS Sasol Library on the UFS Bloemfontein Campus, will be open for viewing until 24 March 2023. The exhibition event is scheduled for 1 March 2023 at 18:00.

Angela de Jesus, Curator of the UFS Art Gallery, says the exhibition comprises artworks made by the final-year Fine Arts students in the Department of Fine Arts. “Each student works with a particular research topic or theme of their choosing.”

This year’s exhibition features the work of Courtney Micaela Parsons, Megan Johns, PK Mohanoe, and Natley Bernardo. 

Craft as art

Parsons, who is interested in the notion of craft as art, in particular transgenerational and traditional female crafts, has transformed a found bed into an art object with her work Stitching generational divides. 

“The artwork was inspired by a copper bed that belonged to three generations of women in my family. In the artwork, I explore the relationships between these generations and the bonds formed, or the lack thereof, through traditional female teachings,” she says.

The artist feels that her artwork speaks to a wish she has to forge closer ties with her maternal line and nostalgia for moments not had. “The skill of crochet is symbolic of the skills that would have been taught by older generations, which are longed for in my own life.”


Constructing art

About his works on display, named Shoot our shot, Heavy labour, Artist on site, and Artistic labour, Mohanoe says that one of the main aims of his art is to address issues regarding contentious everyday working environments and the challenges that many workers have to face in South Africa today. These include inadequate resources, a lack of occupational health and safety measures, and being poorly paid.

“I am interested in this because I personally had to overcome many challenges in having to work part time while studying full time.”

“I explore this theme and compare it to the labour involved in artmaking and the creation process,” he adds. 

Mohanoe explains that his art consists of materials that can be both building and art materials, such as wooden doors, stones, and metal. “I layer, construct, deconstruct, paint, carve, and destroy these materials and document my creative process to emphasise the intense labour that is often hidden behind a final work of art,” he says, adding that he hopes to evoke empathy and encourage appreciation towards this labour by the artist, the worker, and the labouring artist.

Visiting the exhibition, visitors can also look forward to Mohanoe’s Mosebetsi o Phethahetse (image below).

Content 1

Mohanoe’s Mosebetsi o Phethahetse

Mixed media on three deconstructed doors,

 metal chain, artists conti suit, wheelbarrow,

boots, stones, bricks & drop sheet

Dimensions vary

Water and the subconscious

Barnardo, who grew up in the Western Cape, was surrounded by water in her early years and longed for it after moving to the Free State. 

“I experienced a sense of loss, which initiated my need to return to and surround myself with water. The water is a place of nostalgia for me, where I can experience an overflow of memories and thoughts, because I relate to its fluidity and plurality,” explains Barnardo, who has on display works named Changing mid-stream, Submerged subconscious I, II, and III, Translucent memory, and Fragmentary waters I, II

She says that the transparent quality of water becomes the vehicle that purifies and clarifies her understanding of her own subconscious mind – a place of reminiscence that allows her to cross the threshold into the subconscious and brings hidden things to the surface. 

Also on display is a video installation, named Liminal Spaces between water and the subconscious. Barnardo says she blindly takes video footage underwater, which allows her to discover and rediscover things that were hidden from view. “In doing so, I allude to the latency of images within the subconscious mind,” she says. 

 

Natley Barnardo, 

Submerged

subconscious I,

digital photography, 46 x 69.5cm

Art and the self

In her art, Johns is interested in investigating how childhood trauma and abandonment can affect adult life and how it can be the source of obsessive melancholia.

Melancholia, Johns believes, is compared to the constant reopening of an old wound. “In my artwork, the artistic practice of drawing, scribbling, or scratching represents the ‘scratching open of old wounds’. The process of scratching or marring a surface is similar to how scratching a wound mars the skin. These scratches also speak of the long-lasting damage that trauma can bring to memory. I use drawings which are reminiscent of childhood mark-making and scribbling, combining them with old family photographs and objects associated with childhood play,” describes Johns.

She has on display digital drawings and collages on perspex, including Harmonious union, Mother and daughter, and Self-portrait

There are also two collections of this artist on display, named Puzzle, and Abandoned objects series.

The exhibition can also be viewed online here


News Archive

Teachers should deal with diversity in education - Prof. Francis
2010-10-08

At the occasion were, from the left: Prof. Jonathan Jansen, Rector and Vice-Chancellor of the University of the Free State (UFS); Prof. Francis; and Prof. Driekie Hay, Vice-Rector: Teaching and Learning at the UFS.
Photo: Jaco van der Merwe

Prof. Dennis Francis, the Dean of the Faculty of Education at the University of the Free State (UFS), recently delivered his inaugural lecture on Troubling Diversity in South African Education on the Main Campus in Bloemfontein.

He urged teachers to be open to what “diversity” might mean in a particular context and how diversity relates to either inclusion or exclusion.

“An approach that promotes the inclusion of all must be based on an understanding of how exclusion operates in ways that may have typical patterns of oppression, but differ in the specific ways that exclusion is expressed and becomes normalised in that context,” he said.

“The good teacher thus seeks to understand how these forms of exclusion may develop in the school’s context and respond through taking thoughtful action to challenge them. It may require creating a climate that enables the silent to speak and recognising that not all groups communicate in exactly the same ways.”

He said teachers also had to affirm the experiential base of learners and students. He said there was an assumption that students would be more effective practitioners if their own experience were validated and explored.

“It is crucial that the students’ own history is treated as valuable and is a critical part of the data that are reflected,” he said. “Equally important is that such stories and similar activities are intentionally processed to enable students to make the connections between personal experience and relevant theory.”

He also urged them to challenge the ways in which knowledge had been framed through oppression.

“Schools are often characterised by messages that draw on one or another form of oppression. Thus, expectations are subtly or in some cases unsubtly communicated, e.g. that girls are not good at physics, or that, while white learners are strong in abstract thought, African learners have untapped creativity, and so on,” he continued.

“For someone to integrate into their role as educators a commitment against oppression means confronting obstacles that one may previously have shied away from, such as challenging authority, naming privilege, emphasising the power relations that exist between social groups, listening to people one has previously ignored, and risking being seen as deviant, troublesome or unpopular.”

Furthermore, Prof. Francis said dealing with diversity in education was always affectively loaded for both students and teachers. He said in South Africa one injunction from educators was to be “sensitive” and thus avoid risking engagement with the contentious issues around imbalances of power.

“If both students and teachers are to confront issues of oppression and power in any meaningful way, we need to design more purposely for the difficulties they will encounter, for example, creating a classroom environment that promotes safety and trust so that all students are able to confront and deal with prejudice and discrimination. Classroom environments will need to balance the affective and cognitive in addressing issues of diversity and social justice,” he added.

He also said that teachers should recognise the need to complement changing attitudes with attempts to change the structural aspects of oppressions.

“To prevent superficial commitments to change, it is important for students to explore barriers that prevent them from confronting oppressive attitudes and behaviours. In this way students are able to learn and see the structural aspects of oppression,” he said.

“Equally important, however, is to get students to examine the benefits associated with challenging oppression. A fair amount of time must therefore be spent on developing strategies with students which they will be able to use practically in challenging oppression.”

He also advised educators to affirm the capacity of staff and learners to act and learn in ways that do not replicate patterns of oppression.

“Many South African schools have survived both the harsh repression of apartheid and the continuing legacy of oppression of various kinds. Despite that, we are often as educators made aware of the ways in which young people in particular affirm themselves and each other in creative and confident ways,” he concluded.

Media Release
Issued by: Lacea Loader
Director: Strategic Communication (acg)
Tel: 051 401 2584
Cell: 083 645 2454
E-mail: loaderl@ufs.ac.za  
7 October 2010
 

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