Annual roundup of student shows 2009: UNISA, University of Johannesburg and Rhodes University.

I was once again privileged to see three exhibitions by tertiary institutions as end of year shows. These exhibitions are the showcase of the student works from various art schools at the exit points for degree’s and diplomas. I was fortunate to be in Grahamstown while their show was on and to see the difference between work produced at Rhodes as apposed to the institutions upcountry. The major difference, I think has to do with degrees of subtlety.
While UJ and UNISA are often bold and perhaps even brash in their exploration of issues of social commentary and identity, the Rhodes students tend towards the subtle shifts in perception from subject to artwork. An example is found in Rhodes student Nicole du Preez who photographed policemen and women in the town. At first glance, these appear as mug shots and then a sense of discomfort creeps in and these ‘protectors’ almost appear menacing in their blandness and their scale. Similarly, Luke Kaplan set about photographing every inhabitant of the town Klein Wupperthal. The 300 or so inhabitants stare out of the images at the viewer and yet the variety of faces and subtle shifts of lighting render these as individuals mostly benign and ona few a bit scary. A very different feeling is evoked from these faces as opposed to those of the police. Another photographic series ‘The
Star” by Jessica Vandeleur deals with newspaper intervention. This student has used Paris Hilton as her subject and skilfully inserted the socialite’s image into photographs from the press media, particularly the disturbing images of the xenophobic attacks. This almost seamless juxtapositioning, enlarged and printed on newsprint
is visually effective and quite disturbing. The sculptural works of Lucas Grant employ resin casts of life-sized pigs in seemingly playful positions interacting with farming implements. On closer inspection, the playfulness becomes sinister and perhaps even torturous. The implication in terms of abuse both of animals and mankind with the white pig as metaphor becomes a chilling reminder of torture, abuse and genocide reminiscent of Orwell’s Animal Farm.
UNISA student work is very thorough and thought through and each student presents a body of work as a mini exhibition. The work that really stood out for me was that of Ronit Yudelman. Her clear resin casts of rotund female forms that house colourful objects like ‘perfect’ Barbie dolls and ....
comment on perceptions and aspirations as well as the psychology behind perceptions of the feminine as seen through the eyes of various sectors of society. They
are beautifully crafted and luscious and yet contain a social message. Similarly her photographs of people moving very quickly (in a gym or at an airport) speak of the endless motion of the rat race and the futility of this movement. These works are aptly titled ‘going nowhere-slowly’. This psychologist-turned-artist has many interesting comments to make and promises to be a light to watch in future.
The University of Johannesburg has two exit points, a three year-diploma and a four-year degree. In this year’s offerings, the work of the diploma students was more impressive than the degree students. The clarity of ideas and technical finish of the third years was superior to most of the seniors. The works of two third-year students in particular stood out: Taryn Racine and Marie Coetzee. Coetzee spent the year building a claustrophobic room wherein painful memories dwell. These memories inhabit the walls, hiding in cracks and tears as drawings and family portraits through which threads are stitched obliterating the image. Wallpaper extends into manadalas of paper doilies that frame symbolic vaginal images. This domestic scene drips with household objects altered, disrupted and rendered as dysfunctional. Coetzee’s control of lighting, minimal colour usage and material intervention create an extremely uncomfortable space
that unpacks the discomfort of enforced domesticity and the expectations placed on a young white afrikaaner woman. Racine also explores her identity but in a very different way. Not nearly as uncomfortable but certainly as powerful as Coetzee, she traces her feminine roots through four generations of female family members. She obfuscates images of these women by overlaying pattern forcing the viewer to squint in order to get a semblance of the image. 4 Large black patterned ink portrait drawings stare out across a room and are met by the stares of four tightly rendered, almost photographic portraits with subtle images and symbols sewn into them hinting at the personal history of each protagonist. The effect is visually electric and the versatility of this student sublime.
Social commentary and personal identity once again seem to be the order of the day in most of the student works at all three of these institutions. I am particularly pleased to see the return of the well made or crafted and finished art-object that goes beyond merely the concept but employs the ‘old-fashioned’ notion of beauty in the making that enhances the meaning of the content.

Gordon Froud

Director of gordart Gallery, Johannesburg.