Ceramics Southern Africa 2006 KZN Regional Exhibition
by Elizabeth Perrill
As one of the two selection judges and the sole award jurist, my 'review' of the Ceramics Southern Africa 2006 KwaZulu-Natal Regional Exhibition (CSA 2006 KZN Regional) is, by necessity, more of a philosophical reflection than a journalistic snapshot. To create a blurb for the public record, held up as an 'objective' synopsis, would be impossible from my own position, but perhaps the subjectivity of every review is merely accentuated by this circumstance.
Held at artSPACE durban, the CSA 2006 KZN Regional included works by several of the top ceramic artists that the province has to offer and was thinned from a pool of over 100 pieces to a single room of 45 works. Within the 'beginner' category a bold style of expression and daring caught the jurists' eyes. In particular, both Karen Adcock and Marcus Henning took technical risks that pushed the limits of their medium. Many experienced ceramic artists might take note of the conceptual efforts made by Henning to explore local themes through architectural observation, an area of sculptural interest that seems untapped by established KZN ceramic artists.
The overall first-prize, Shell Series Earthenware Vessel by Angela Rivett-Carnac, quietly won the day with its tactile subtlety and excellence within the aesthetics-of-use. To lift this piece and pour from it was a delight that few but a maker, jurist or owner will experience. Rivett-Carnac's style, imbued with tactile nuance and quiet appreciation, is in striking contrast to our frenetically buzzing lives that, in the words of Theodor Adorno, are filled with music that '... inhabits the pockets of silence that develop between people molded by anxiety, work, and undemanding docility.'
Yet, from whom comes the overall quiet, tactile pleasure and appreciation represented in the CSA 2006 KZN Regional, and for whom does it exist? The exhibition was noticeably devoid of participation by university departments across the province or works created by the many outreach programmes and rural potters who have won both national and international praise. The reasons for these absences are, of course, complex. As a juror who also visits rural ceramic artists, I struggled with the conflict of interest that bringing works from rural areas in for my own evaluation would represent. I now realise that this may have been the wrong stance to take, as the structures of announcement and promotion are, as of yet, ill adapted to reach rural art producers.
It was a pleasure to push my aesthetic acumen and create a show with my fellow selection judge Karen Bradke. As long as the practices of bringing in outside jurors, maintaining even more rigorous acceptance rates, and widely advertising competition awards are fostered, the CSA KZN has the wonderful potential to demand more of ceramic artists and draw the talent of KwaZulu-Natal into this structure of artistic recognition. Just as artists such as Martha Zettler, Clive Sithole, or Nesta Nala built international reputations from their first successes at regional exhibitions, I hope that more KZN artists will discover or re-discover Ceramics Southern Africa as an organisation that is eager to promote ceramic artists and their careers.
Prizewinners in the competition were:
First Prize: Angela Rivett-Carnac, Shell Series Earthenware Vessel
Second Prize: Naomi Klingenberg, Burnished Raku Vessel
Third Prize: Joy Savage, Namaqualand Bowl
Highly Commended: Lynette Morris-Hale, Feather Leaf Vessel
Beginners' Prize: Karen Adcock, Horse Sculpture
Highly Commended, Beginner: Marcus Henning, Cityscape Vessel
Highly Commended, Beginner: Tracey Duivestein, Coiled Raku Vessel
Elizabeth Perrill is a PhD candidate from Indiana University, Bloomington, USA. She is presently conducting dissertation research on ceramics and urbanisation in KwaZulu-Natal.
Opened: August 14
Closed: September 2
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