Patroonmaakprosesse en die resente skilderkuns

[摘要] English: This dissertation is an extension of my studio research. In my studio research I use the processes usuallyassociated with the making of decorative patterns as an integral part of my work as a painter. In mypaintings and in my dissertation those actions of pattern making that create an interplay between surfacescharming to the eye, and the menacing hidden meanings of degeneration, destruction and underlyingaggression is investigated.This research focuses on the manifestation of the visual impact of decorative patterns on formal as well asthe semantic levels. The meaning of patterns and motifs in patterns emerges and changes constantly as aresult of formal creative making processes. These processes are influenced by cultural forces. Thus thetransformations in patterns and pattern motifs point to the dynamic cultural forces in current South Africa.Decorative patterns from popular South African culture, in which pattern-creating processes are linked tothe creative processes involved in recent visual art by contemporary artists, Beatriz Milhazes, Ghada Amer,Bronwen Findlay and Leora Farber as well as to my own paintings are analyzed.The research focuses on the ways in which patterns change and in which meanings are assigned to them.The importance of purposeful exchange of ideas in order to bring about transformations in patterns, isstressed. Writers such as Alois Riegl and William H. Goodyear have seen the exchanges of motifs andmeaning in patterns as an organic and orderly pocess. In reality the meanings of pattern fluctuate and isconstantly being transferred in a chaotic way. It is also fundamental that it should be considered within aspecific social and cultural context as done by Alfred Gell. The ongoing and dynamic cultural influences willthen become clear.This dissertation is structured in three sections, in which patterns and pattern motifs which are prominentand meaningful in the popular South African culture of the day are investigated. The 'Victorian Rosepattern', the Springbok motif and 'Ndebele patterns' are discussed. In each of these three sectionsmeanings and transformations of meaning in pattern motifs are closely scrutinized.The 'Victorian Rose pattern' underwent numerous transformations in South African culture. Yet, the strongassociations with its British origins still cling to it. The Springbok motif, which became part of South Africanheraldry during the British colonial period, on the contrary, has transformed into a symbol of Afrikanernationalism. The underlying aggressiveness which developed to the motif led to its degeneration and later acome-back as a kitsch motif in current popular culture. In the case of the visually powerful Ndebele patterns, 87the ethnic connotations they carried led these patterns to become artificial constructions subject to politicalmanipulation and power struggle.

[发布机构] University of the Free State