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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

UFS research could light up South African homes
2016-01-21

Reitumetse Maloa, postgraduate student and researcher at the UFS Department of Microbial, Biochemical and Food Biotechnology, is using her research to provide solutions to the energy crises in South Africa.

A young researcher at the university is searching for the solution to South Africa’s energy and electricity problems from a rather unlikely source: cow dung.

“Cow dung could help us power South Africa,” explains Reitumetse Maloa, postgraduate student and researcher at the UFS Department of Microbial, Biochemical and Food Biotechnology.

Reitumetse’s research is trying to understand how the bacteria works that is responsible for producing biogas.

“Biogas can be used for cooking, heating, lighting and powering generators and turbines to make electricity. The remaining liquid effluent can fertilise crops, as it is high in nitrogen, phosphorus and potassium.”

By using cow dung and food waste to produce biogas, we will be able to lower greenhouse gases.

Biogas is produced in a digester - an oxygen-free space in which bacteria break down or digest organic material fed into the system. This process naturally produces biogas, which is mainly a mixture of methane and carbon dioxide.

“Many countries, such as Germany and the United States, have begun generating electricity from cow dung and food waste, through a process known as biogas production. In South Africa, a number of industries, including waste-water treatment facilities and farms, have caught on to this technology, using it to generate heat and to power machines.”

Until recently the world has relied heavily on electricity derived from fossil fuels such as coal, natural gas and oil. Once these fuels have been extracted from underground reservoirs, they are treated or cleaned, transported to power plants and transformed into the electricity that will reach your house. Fossil fuels are considered a ‘dirty’ energy source which gives off greenhouse gases when burned. Those gases are the major contributing factor to climate change.

“We know very little about the interaction of the bacteria inside the biogas digester. To use biogas as a sustainable fuel source, we need to understand and describe the bacteria population and growth dynamics inside the digester to produce biogas optimally. Currently we are testing a variety of feedstock, including bran, maize and molasses, for biogas production potential, as well as optimising the conditions leading to maximum biogas production. We are also exploring the potential to use the effluent as fertiliser on local farms. The ultimate goal is to have biogas systems that will supply our university with clean energy.”


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