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A Critical Survey of Ardmore Ceramics

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A Critical Survey of Ardmore Ceramics A CRITICAL SURVEY OF ARDMORE CERAMICS: 1985-1996 GLENDA ANN MENTIS Submitted in partial fulfillment of the requirements for the Degree of Masters of Arts in Fine Arts in the Department of Fine Arts and History of Art, University ofNatal Pietermaritzburg 1997 DECLARATION I declare that, unless otheiwise stated, this thesis is comprised of my own original work. II 5. Non-English words have beenitalicised. 6. Titles of all art works and books have been printed in bold italics. III ACKNOWLEDGEMENTS I thank the Fine Art Department and the University of Natal for the finances and facilities which made the present study possible. I would also like to express my appreciation to the Centre for Science Development, for financial backing, without whom this study would not have been possible. I am indebted to my supervisors, especially Juliette Leeb du Toit, who set me on the path of this study, and offered unending guidance, encouragement and academic inspiration. Many thanks also to Juliet Armstrong whose ever-watchful eye directed me through my practical work. I am especially gratefulto Fee Halsted-Berning who has given of her time, her knowledge and her friendship. I have learnt much fromher about making art in the 'real' world. This study would not have been possible is it were not for Bonnie Ntshalintshali, Josephine Ghesa and the artists from the studio. I wish to thank all the members of the studio for their time and patience. I thank translators, Sister Magda from Mariannhill Convent, Phineus Mweli and Moses Nqubuka from the Ardmore Studio who also offered their keen insights into the dynamics of the studio. For the loan of visual and written material, I thank Valerie Leigh at Museum Services, Yvonne Winters at the Campbell Collections, the Durban Art Gallery and the Tatham Art Gallery. To Mrs Fowles, Fine Art and History of Art Department secretary, thanks for her help and advice. JV A special thanks to JennyAitchison, subject librarianat the Universityof Natal, forobliging me in every way possible. To Alister Nixion fromAudio Visual at the University of Natal for helping me scan and print the illustrations formy dissertation, I express my appreciation. I owe a very special thanks to my colleagues and friends especially to Ian Garrett, Michelle Rall, Lawrence Asare, Cara Waltersand Simon Pitcher fortheir constant support, criticism and encouragement. Last but not least, to my parents, for firstly encouraging me to study further, and for being a constant inspiration to me. I thank my father for reading my thesis, for his willing assistance with technical problems and for offering critical, enlightening and often humorous perspectives on my research. To my mother I express heartfelt appreciation for her moral support and encouragement especially over the last few months. V ABSTRACT The aim of this study is to trace the development of the ceramics produced at the Ardmore Studio, in the Champagne Valley, KwaZulu-Natal from its inception in 1985 to 1996. In tracing the expansion of the studio various issues became apparent which can be seen as relevant to the study of contemporary black art in South Afiica. The Introduction puts Ardmore ceramics in the context of current trends in black art by presenting an historical overview of art centres in KwaZulu-Natal. The perceptions of the artist, the audience, and the role of the cultural broker are considered. Thus the circumstances which led to emergence of contemporary black art in its present form and the development of contemporary ceramics in South Afiicaare also examined. In Chapter One an historical outline of the origins of the studio is introduced. Fee Halsted­ Berning's involvement in the studio and her relationship with the artists, as well as her perceptions of artas related to her personal preferences, her training and current South Afiican trends in ceramics are discussed. The forging of an Ardmore identity, the growth and expansion of the studio, the interrelation that exists between the artists and the audience are also considered. Chapters Two and Three deal with two specific artists, Bonnie Ntshalintshali and Josephine Ghesa. Issues related to the sources andorigins of their imagery are examined in terms of their respective social, ethnic and cultural backgrounds. VI CONTENTS Page PREFACE I ACKNOWLEDGEMENTS ill ABSTRACT V CONTENTS VI INTRODUCTION 1 ENDNOTES 14 CHAPTER ONE: 19 The Historyand Organisation of the Ardmore Studio ENDNOTES 39 CHAPTER TWO: 43 Bonnie Ntshalintshali and Multiculturalism ENDNOTES 66 CHAPTER THREE: 69 Contextualising the Work ofJosephine Ghesa E:t\TDNOTES 87 CONCLUSION 90 VII BIBLIOGRAPHY 94 LIST OF ILLUSTRATIONS 102 ILLUSTRATIONS APPENDICES: APPENDIX 1 Biographiesof Artists Involvedwith the Studio APPENDIX2 Curricula Vitaeof Major Artists at the Studio APPENDIX3 Interview with Halsted-Berningin June 1994 APPENDIX4 Informationabout the Studio APPENDIX5 Running Costs of the Studio APPENDIX6 Price Lists INTRODUCTION The Ardmore Studio situated in the Champagne Valley in KwaZulu-Natal, which began in 1985, can be described as a community-based, informal art enterprise where members of the local Loskop/Winterton population have acquired certain artistic skills. These skills are applied in the manufacture of highly decorated domestic ware and sculptural ceramics. The studio was established by artist Fee Halsted-Berning whose vision and aesthetic predilections have shaped the nature and content of the work. Halsted-Berning's role has changed from an initiator and facilitator to that of a director at the studio. She also plays an important role in maintaining a high standard of work, providing materials, promoting the work andinitiating new projects, ideas, imagery and forms. She often works in collaboration with the artists on projects and individual pieces, often vicariously imparting her ideas to the artists. In January 1996 Halsted-Berning relocated with her family to Springvale Farm, Rossetta, KwaZulu-Natal, about one hours drive from Ardmore. The move necessitated a restructuring 1 in the management of the studio, prompting the artists to work less dependently on Halsted­ Berning. The changes and restructuring resulting from the move are discussed in Chapter One. There are currently over 40 black women and a fewblack men working at the studio. Ardmore is recognised both nationally and internationally with works represented in numerous local and international private and public collections. Besides success being indicated by extensive representation in collections, individual Ardmore artists have been formally acknowledged as recipients of a number of awards. These include the Standard Bank Young Artist Award to Bonnie Ntshalintshali and Fee Halsted-Berning in 1989, and numerous APSA awards to individuals (listed in Curricula Vitae in Appendix 2). In 1993 Bonnie Ntshalintshali was invited 2 as one of eight artists from South Africa to exhibit at the Aperto Venice Biennale (Martin 1993). Part of the discussion in this dissertation concerns the infrastructure and organisation of the studio. However, as the Ardmore Studio, currently operational, exists by responding spontaneously to the demands imposed through circumstances, it is difficult to make generalisations about the studio, the work produced at the studio andthe way it operates. The Ardmore Style, numbers and members of the studio, medium - clay source, under-glaze range glaze, firing temperature - the rate and method of payment, which appear finite, are actually incessantly changing. While recording and updating information is as accurate as possible, the information collected may only hold true at the giventime. Ardmore Ceramics needs to be considered in two contexts: in the context of contemporary Black art and in the context of contemporary South African ceramics. Much contemporary Black art2 in South Africa was rooted in pre-existing art forms that stemmed from particular 3 cultural identities. The changes that took place in traditional art , as a result of the incursion and imposition of new and foreign stimuli, date back to the arrival of European settlers (De Jager 1988: 202-203). The arrival of European settlers in KwaZulu-Natal created a catalyst with incentives for production as well as a new form of patronage. The Europeans traded with the indigens for many commodities, including items from their material culture, to keep as souvenirs or curiosities or send back to the mother country as trophies of their exploratory adventures. This precipitated viableopportunities for entrepreneurial craftsmen and artistswho adapted their art to suit market requirements (De Jager 1992:2). Art production from the 1870s seems to have been further facilitated by urbanisation, westernization and the introduction of Christianity to traditional societies. The transformations in art that occurred can also be attributed to changes in material conditions, new forms of patronage and the introduction of new educational values (Sack 1988:7). Monetary rewards 3 gave artists independence from formersocial systems that bound them to making traditional or ritual art, and brought about increasing individualism that has become an integral part of contemporaryBlack art (de Jager 1992:3). In addition, the objects made by skilled craftsmen, lost their original symbolic and ritual functioncatering rather forwestern aesthetic appeal (Sack 1988:7). Nettleton comments that: "these putatively functional objects were in reality one of the earliest forms of transitional art in that they start to bridge the gap between
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