This article is part of The Visual Art of Creating Beyond the Apartheid Imagination program, funded by the National Arts Council in 2024 and implemented by Lukho Witbooi and Zimkitha Xwashu for Gallery Chosi. The program is a developmental initiative that reimagines art and identity by transcending the divisions and constraints of apartheid, embracing freedom, complexity, and new possibilities.
Towards the close of last year, I encountered a stunning and thought-provoking series of artworks by artist Warren Maroon, showcased with Church Projects at FNB Art Joburg. All of the pieces were created from stainless steel hammers with folded wooden handles, and featured spikes. These artworks had a profound impact on me and prompted a reflection on their meaning.
In this work, the transformation of everyday objects, such as a hammer, often associated with power and force, is significant. The symbol of aggression inherent in the hammer is twisted into different shapes, a transformation that conveys how an object commonly associated with violence has now become art, prompting us to contemplate the distinction between creation and destruction. The artist seems to suggest that even if something has been associated with violence, there exists the potential for change into something new and meaningful.
Warren Maroon, Once Bitten Twice Shy 3, 2024 Wood and Stainless Steel
Engaging with these artworks provided an emotional and philosophical glimpse into the sublime aspects of both the church and the gallery, as critical spaces for conversion. I considered the significance of the ‘Church Projects’ name and realized that housing Maroon’s works within that space was more than merely displaying art but also speaks broadly to how works are read in different spaces. Some spaces possess the ability to change both the artist and viewers. I have come to understand that both the art gallery and church are imbued with the potential to transform our ideas, including our perceptions in line with reflections by Jessica Power, who writes on the gallery as a place of worship, noting; “what the gallery and church both offer conceptually, [is that] they present us with a sense of greatness and power that we associate with the notion of gods.”
Church Projects as an exhibition space added profound meaning to my reading of the work, by evoking thoughts of healing and change. In my upbringing, the church represented more than just a space for seeking meaning; it was a place where we were shaped into something beautiful—a space that offered renewal without judgment. Since exhibition spaces also serve as environments where we seek meaning, one could argue that religion has been supplanted by art, making exhibition spaces contemporary sites of worship.
Warren Maroon, First one, Once Bitten Twice Shy 1, 2024 Wood and Stainless Steel
Symbol of Transformation: The Hammer
A hammer is a ubiquitous tool that can be used for building or breaking things apart. Due to its dual nature, it serves as a powerful symbol; the hammer is no longer merely a tool of force but now functions as an instrument for reflection. The folded wooden handles with spikes tell a deeper story. Incorporating spikes into the elegantly folded wooden handle of the hammer creates a striking contrast, where elements typically associated with danger are transformed into integral parts of a meaningful narrative. This fusion highlights the idea that even sharp and challenging aspects of life can contribute to something other. By preserving the hammer’s original essence while reshaping it, the artwork becomes a metaphor for our capacity to adapt and grow. Perhaps then, the spikes symbolize the complexity of our identities, reminding us that struggles can enhance and redefine our personal stories. This artistic approach invites us to rethink perceptions of strength and vulnerability, showing that embracing life’s dualities can lead to deeper self-discovery and growth.
Michael Grady, in his text, ‘Art and Consciousness: The Pedagogy of Art and Transformation’, argues that “the basic function of art is to create transformation in the artist, the viewer, the community, and the culture.” Maroon’s ideas took me back to a time before I began creating art conceptually; my understanding and perspective on art were limited then. Experiencing his work reminded me of how I once viewed my art journey, particularly regarding the difficulties and disadvantages I faced during my primary and secondary education. My educational experiences were challenging, but I have since transformed those disadvantages through my art. For me, Maroon’s artworks symbolize that life’s challenges can be reshaped into something meaningful.
It seems then that transformation is not merely about destroying the past but rather about building upon our experiences. Just as Maroon bent the hammer into something new and beautiful, creating art conceptually has allowed me to embrace my imperfections without fear of judgment.
Notes
Aumann, A. (2022). Art and transformation. Journal of the American Philosophical Association, 8(4), 567-585.
Grady, M. (2006). Art and Consciousness: The Pedagogy of Art and Transformation. Visual Arts Research: Educational, Historical, Philosophical, and Psychological Perspectives, 32(62), 83–91.
Miller, D. L. (2012). How to ruin your students’ readings of visual texts (and still sleep well at night). In Reading for Meaning (Vol. 39, Issue 3).
Power, J. (n.d.). The gallery as a place of worship: How is the art gallery like a church? New Minds Eye. Retrieved September 22, 2024, from https://newmindseye.wordpress.com/jessica-power-the-gallery-as-a-place-of-worship-how-is-the-art-gallery-like-a-church/
