Established in 2021, Art Formes began as a devoted undertaking by Olivia Barrell on her journey to spotlight the overlooked and typically under-appreciated medium of clay within the framework of contemporary South African art. Her first publication, ‘Clay Formes: Contemporary Clay from South Africa’, became an immediate hit after its release in August 2023, as well as the debut of Art Formes as a gallery at Investec Cape Town Art Fair (ICTAF) 2024, causing quite the stir as it begs the question, what is all the fuss about?
An observation that has become apparent is the remarkable prevalence of Black Portraiture within the artistic sphere. As described by art critic Ashraf Jamal, to be “the fetishistic crux of contemporary African art1https://artthrob.co.za/2024/02/29/r-e-s-p-e-c-t-reflections-on-the-2024-investec-cape-town-art-fair/”, these pieces have adorned the walls of fairs and prominent galleries across the globe for the last few years. While they undoubtedly symbolise the significant nexus of a socio-artistic transition, the extensive attention they have garnered during this time may have somewhat eclipsed the equally wide variety of artistic talent present within the broader artistic community. A generalisation, but a generalisation I believe we can resonate with.
Largely unobserved in recent years, however, was the emergence of many sculptural works in various forms of clay and earth – both extensions of a rich South African ceramic tradition and innovative new artistic voices in the medium. Such was apparent to Barrell, who returned to South Africa in 2016 after completing her undergraduate and postgraduate degrees in Art History at the Sorbonne University in Paris – specialising in Chinese porcelain from the late Ming Dynasty (17th century). Both the technical capabilities of the local South African artists and the richness of their expression through clay grabbed her attention. Written and researched over two years, Barrell compiled her debut publication, Clay Formes. “The narrative previously simply did not exist,” she notes, “South Africa is a country so richly invested in the medium of clay, yet until now, there was no cohesive account of its artists.”
Jabulile Nala. CLAY FORMES: Contemporary Clay from South Africa. Published in 2023 by Art Formes. Edited by Olivia Barrrell.
From Nesta Nala’s transformation of the traditional Zulu ukhamba to Hylton Nel’s subtly charged sculptures, Clay Formes explores a heightened interconnectivity across the panorama of South African voices, who stand united in their pursuit of expression through the medium of clay. The publication offers insight into the medium that reaches beyond the confines of functionality, extending into the sphere of sculptural potentiality. “This publication is about the metamorphosis of clay, illustrating much of what the medium can become: canvas, voice, eggshell, stone, sand, artefact, plastic, wood, metal, or metaphor,” explains Barrell in her Editor’s Note.
As clay gains momentum, however, we ought to proceed with caution. This oncoming tidal wave of ceramic demand and production appears to be leading to an overt excess of noise, colour, and clamour as this newer market creates appeal through its ‘tactility and childlike naivety’ claims Emily Moore, director of 8 Holland Street Gallery (London) in an interview for Artsy editorial. Amidst this fervour, a fracture from the art-historically supported lineage of ceramic production has emerged that has led to a neglect in appreciation for the techniques arduously practised by ceramic masters in favour of the immediacy on offer in these arguably more unseasoned works.
Hylton Nel. CLAY FORMES: Contemporary Clay from South Africa. Published in 2023 by Art Formes. Edited by Olivia Barrrell.
Barrell embarked on Clay Formes as a meticulous investigation, conducting a series of interviews and studio visits from all around the country, to offer readers profound insight into the practice, technique and visual language of thirty of South Africa’s leading artists working in clay. The publication not only hones in on South African ceramic artists but more specifically on those who have mastered specific clay types. For Andile Dyalvane, for instance, it’s the mighty realm of terracotta. The grandeur of the artist’s vessels stands as a profound testament to his skill. Meticulously executed, each form forges a deep bond with the earth’s essence, mirroring the natural landscapes of rivers, mountains, rocks, and soil upon their surfaces with exquisite precision. Crafted by hand and scaled to magnificent proportions, these creations epitomise the expertise of one of South Africa’s finest terracotta masters. The same could be said for porcelain master Katherine Glenday, who bends this volatile medium into sculptural submission. Or the master hand-builder, Ian Garrett, whose seemingly quiet works might be overlooked amidst this wave of current ceramic mania, yet they showcase the artist’s forty years of dedicated practice through their near perfection in spherical form and detailed surface treatment. An additional interesting feature of the book includes the celebration of the historic and spiritually profound works of Zulu ceramic master, Nesta Nala whilst also paying tribute to the pioneering works of her daughter, Jabulile Nala. Rooted in the rich heritage of Zulu cosmological rituals, the Nala familial lineage of female ceramicists skilfully innovated and elevated this ceramic practice, turning vessels into works of art. Infused with personalised motifs and refined formal restructuring, their works marked a pivotal moment as they gained formal acknowledgement within gallery and museum spaces.
A crucial relationship between literature and sculpture emerges through Clay Formes – offering a deeper understanding of the language of sculpture that has been absent from the South African artistic repertoire until now. The importance of literature in complementing art cannot be overstated. While art is primarily a visual medium, sincere appreciation and comprehension of any work necessitates understanding. The familiar critique of the art world’s elitism, which posits that only those well-versed in its subject matter can fully engage with it, holds some weight here. Hence, we turn to the art historian to convey their experienced insight through literature, bridging the gap and enriching our understanding of artistic expression. With a poetic sensitivity unlike previous art publications, Clay Formes finds itself offering such insight whilst simultaneously inviting the viewer to interpret the artworks for themselves. After all, whilst experience and history are important, so too is the personalised layer of subjectivity that any viewer is entitled to when engaging with a work of art.
Andile Dyalvane. CLAY FORMES: Contemporary Clay from South Africa. Published in 2023 by Art Formes. Edited by Olivia Barrrell.
Clay Formes has therefore created a platform that spotlights the ascendency of not only clay as the ‘zeitgeist medium’ within contemporary South African art but likewise Barrell’s art historical approach as a calming force that effectively sifts through the noise that is this emerging market of brash ceramic works, discerning the true masters within this nuanced medium. While international focus has gravitated towards Black Portraiture, Clay Formes now extends the platform to another realm of art, further enriching the South African artistic landscape and broadening horizons within the global art community. It therefore not only helps promote the rise of clay as a pivotal medium within South African contemporary art but likewise encourages larger appreciation and recognition for the well-versed artists shaping its landscape, diversifying, and enriching the global artistic discourse.
