Latest News Archive

Please select Category, Year, and then Month to display items
Previous Archive
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

Researcher part of project aimed at producing third-generation biofuels from microalgae in Germany
2016-05-09

Description: Novagreen bioreactor  Tags: Novagreen bioreactor

Some of the researchers and technicians among the tubes of the Novagreen bioreactor (Prof Grobbelaar on left)

A researcher from the University of the Free State (UFS), Prof Johan Grobbelaar, was invited to join a group of scientists recently at the Institute for Bio- and Geo-Sciences of the Research Centre Jülich, in Germany, where microalgae are used for lipid (oil) production, and then converted to kerosene for the aviation industry.

The project is probably the first of its kind to address bio-fuel production from microalgae on such a large scale.  

“The potential of algae as a fuel source is undisputed, because it was these photoautotrophic micro-organisms that were fixing sunlight energy into lipids for millions of years, generating the petroleum reserves that modern human civilisation uses today.  However, these reserves are finite, so the challenge is marrying biology with technology to produce economically-competitive fuels without harming the environment and compromising our food security.  The fundamental ability that microalgae have to produce energy-rich biomass from CO2, nutrients, and sunlight through photosynthesis for biofuels, is commonly referred to as the Third-Generation Biofuels (3G),” said Prof Grobbelaar.

The key compounds used for bio-diesel and kerosene production are the lipids and, more particularly, the triacylglyserols commonly referred to as TAGs.  These lipids, once extracted, need to be trans-esterified for biodiesel, while a further “cracking” step is required to produce kerosene.  Microalgae can store energy as lipids and/or carbohydrates. However, for biofuels, microalgae with high TAG contents are required.  A number of such algae have been isolated, and lipid contents of up to 60% have been achieved.

According to Prof Grobbelaar, the challenge is large-scale, high-volume production, since it is easy to manipulate growth conditions in the laboratory for experimental purposes.  

The AUFWIND project (AUFWIND, a German term for up-current, or new impetus) in Germany consists of three different commercially-available photobioreactor types, which are being compared for lipid production.

Description: Lipid rich chlorella Tags: Lipid rich chlorella

Manipulated Chlorella with high lipid contents (yellow) in the Novagreen bioreactor

The photobioreactors each occupies 500 m2 of land surface area, are situated next to one another, and can be monitored continuously.  The three systems are from Novagreen, IGV, and Phytolutions.  The Novagreen photobioreactor is housed in a glass house, and consist of interconnected vertical plastic tubes roughly 150 mm in diameter. The Phytolutions system is outdoors, and consists of curtains of vertical plastic tubes with a diameter of about 90 mm.  The most ambitious photobioreactor is from IGV, and consists of horizontally-layered nets housed in a plastic growth hall, where the algae are sprayed over the nets, and allowed to grow while dripping from one net to the next.

Prof Grobbelaar’s main task was to manipulate growth conditions in such a way that the microalgae converted their stored energy into lipids, and to establish protocols to run the various photobioreactors. This was accomplished in just over two months of intensive experimentation, and included modifications to the designs of the photobioreactors, the microalgal strain selection, and the replacement of the nutrient broth with a so-called balanced one.

Prof Grobbelaar has no illusions regarding the economic feasibility of the project.  However, with continued research, optimisation, and utilisation of waste resources, it is highly likely that the first long-haul flights using microalgal-derived kerosene will be possible in the not-too-distant future.

Prof Grobbelaar from the Department of Plant Sciences, although partly retired, still serves on the editorial boards of several journals. He is also involved with the examining of PhDs, many of them from abroad.  In addition, he assisted the Technology Innovation Agency of South Africa in the formulation of an algae-biotechnology and training centre.  “The chances are good that such a centre will be established in Upington, in the Northern Cape,” Prof Grobbelaar said.

 

We use cookies to make interactions with our websites and services easy and meaningful. To better understand how they are used, read more about the UFS cookie policy. By continuing to use this site you are giving us your consent to do this.

Accept