throughfundingfromthe UnitedNationsandthe
FiredUp!ismadepossible
InternationalYearofGlass 2022SteeringCommittee. Visit www.iyog2022.org for moreinfo. SouthernAfricanGlass IYoG2022.SouthAfrica@gmail.com Facebook: SouthernAfricanGlass Instagram: @southern_african_glass
PublishedandeditedbyLothar Böttcher. PhotosbyBernardBrand. ©2022
Page Introduction:FiredUp!-CelebratingSouthern AfricanGlassArt 6 Foreword:TheIntonationalYearofGlassin SouthernAfrica 8 Artists FanusBoshoff 10 LotharBöttcher 12 AnselmCroze&KitengelaGlass,Kenya 14 BarbaraEwing 16 CaitlinGreenberg 18 MartliJansenvanRensburg 20 JamesMagagula 22 RyanManuel 24 SueMeyer 26 SibusisoMhlanga 28 StephenMofokeng 30 KgotsoPati 32 DavidReade 34 NicoleRowe 36 GuidovanBesouw 38 RetiefvanWyk 40 OriginsCentre,UniversityoftheWitwatersrand 42-43 PhotosofFiredUp!OpeningatthePretoriaArt Museum 44-45 FiredUpGlassSymposium 46-49 NextGenerationGlassExhibition 52-61 ThinkingGlassArtLocallybyDr.PfunzoSidogi 62-67 Index
FiredUp!-CelebratingSouthernAfricanGlassArt
ThisyearistheUnitedNations’2022 InternationalYearofGlass.A multitudeofinternationaleventsareplannedthroughoutthisspecial year,andseverallocalinstitutionshavebeenhardatworktoensure thatsouthernAfricaisfeaturedonthisprestigiousglobalcalendar.
From3rdSeptemberuntil30thOctober,theexhibitiontitled, ‘Fired Up! willshowcaseglassartanddesigninamyriadofcreative interpretationsatthePretoriaArtMuseum.
Thisseminalshowpresentshistoricalaspectsofglassartanddesign, anditsuseswithinasouthernAfricancontext.
IncollaborationwiththeWITSUniversityOriginsCentre,theexhibit revealshowglassbeadswereusedascurrencyinextensivecontinental traderoutes.Thebeadswereproducedinthefirstfurnacesonthetip ofAfrica.
Theexhibitionalsochroniclesthestoryofpioneersandtorchbearers inthelocalhand-madeglassindustrysuchasNgwenyaGlassfrom EswatiniandtheTshwaneUniversityofTechnology’sDepartmentofFine &StudioArts.
Livedemosofglassmakingandconversationswiththeartistsform partoftheopeningfestivitiesonthe3rdofSeptember.
Thisexhibitionalsofeaturesadisplayofcontemporaryglassartworks bytrailblazerswhohave,andstillareshapingtheSouthernAfrican creative-glassindustry.
FiredUp!iscomplementedbyasymposiumon1Octoberhostedatthe TshwaneUniversityofTechnologyFacultyofArts&DesignCampus. Speakersincludeartists,academics,andindustrypeople,whowill discussthetheme “GlassanditsFutureinanAfricanContext”. Attendeesofthissymposiumwillenjoyliveglassblowingdemosatthe TUTGlassStudio.
Joinusforthishistoricexhibitionandassociatedeventscelebrating glassartanddesignduringthisInternationalYearofGlass2022at thePretoriaArtMuseumandTshwaneUniversityofTechnology.
Pleasefollowuson Instagram and Facebook @southern_african_glass or emailusat iyog2022.southafrica@gmail.com formoreinfo.
TheFiredUp!&InternationalYearofGlass2022RegionalOrganisation 15SteeringCommitteeis: -LotharBöttcher(Curator) -ChasPrettejohn(NgwenyaGlass) -CaitlinGreenberg(DepartmentofFineandStudioArtsTUT) -MartliJansenvanRensburg(SmeltGlassStudio) Specialthanksgoto: PretoriaArtMuseum,CityofTshwane TshwaneUniversityofTechnology WITSUniversityOriginsCentre NgwenyaGlass ObsidianGlass SmeltGlassStudio BorillaGlass andGordonFroud(HoDVisualArts,UniversityofJohannesburg)for openingtheexhibition. GLASSSTUDIO
MyloveforglassblossomedwhentheTshwaneUniversityofTechnology glassstudioopenedin1994.Ihonedmyskillsasglassblowerherein Pretoria,beforespecialisingas‘Glasschleifer’,orcoldworker,in Hadamar,Germany.
Afteralmostthreedecadesthismaterialstillenthrallsme.Projects suchasFiredUp!aimtokindlenewflamestocarrythetorchforhandmadeglassintothefuture.
Glassisubiquitousinmodernsociety.It'sinourhouses,vehicles, andpockets.Ican’timaginelifewithoutit.
Throughglass,wecancommunicatewithlovedonesviavideocall. DuringtheCOVID-19pandemic,vaccinesweredistributedsafelyin glassvials.
Asamaterial,itisinfinitelyrecyclable,preciousyetdisposable. Glassiseverywhereandhaschangedthetrajectoryofhumankind’s development,helpingusunderstandcosmicriddles.
Glasscanalsobebeautiful,provocative,andemotional.
TheUnitedNationsproclaimed2022astheinternationalyearofglass. Thisradicalmaterialcanalsobefoundinartinitsvarious iterations.
Theexhibition FiredUp!—CelebratingSouthernAfricanGlassArt openedatthePretoriaArtMuseumonthe3rdofSeptemberwithgreat fanfare.SixteenartistsfromSouthAfrica,Eswatini,andKenya participated.Eachworkrepresentstheirpersonalstyleandabroad rangeoftechniques.Theseartistshaveallmademeaningful contributionstodevelopingglassartinthesouthernAfricanregion.
FiredUp!aimstobringthemagicofglassasamediumforexpression toabroaderpublic.Theexhibitionandrelatedsymposium,heldonthe 1OctoberattheTshwaneUniversityofTechnology’sFacultyofArts& Design,attemptstokindleconversationsonthefutureofglassartin Africa.Furthermore,weintendtoexposeartloversandcollectorsto newcreativeideasandnurturetheloveforglass.
DuringthisInternationalYearofGlass,wearepartofaglobalglass movement,andweshinealightonourlocalcommunity.Thisenergyis alreadypalpablethroughthenewnetworksestablishedbetweenartists andstudents,aswellasaninterestedpublic.
Foreword-TheInternationalYearofGlassinSouthernAfrica
NelsonMandelasaid,“Afterclimbingagreathill,oneonlyfindsthat therearemanymorehillstoclimb.”
FiredUp!isonlythebeginningofsomethingwonderful.Wehave initiatedaconversationonwhatis,andwhatcanbeart-in-glass,and wecontinuetofocusonthefuture.Nowitistimetopassthetorch ofknowledgeandloveoflearning,toinspireandcreatenewformsof glassthatrepresenttheidealsandfearsofthepeopleonthis continent.Ourstrengthliesinthemyriadofvoicesharmonised throughourloveofglass.
TUT’sDepartmentofGlassArt&Designiskeytodevelopingthis dream.Icanseetheirpotentialroleinbeingtheonlytertiary institutioninsub-SaharanAfricaofferingglassasacreativemedium. Thiscanalreadybeseenthroughtheirintensecollaborationwith NgwenyaGlass.Masterblowers,SibusisoMhlangaandJamesMagagula, fromNgwenyaGlass,haveinspiredanewgenerationofyoungsters throughtheseworkshops.
FiredUp!andallitsrelatedprojects,weremadepossiblethrough fundingfromtheInternationalYearofGlassSteeringCommittee, supportfromthePretoriaArtMuseumandtheexceptionalvision,time, andenergyfromtheTshwaneUniversityofTechnologyDepartmentof GlassArt&Design.Ithankyouforhelpingbuildthefutureofglass inAfrica.
Iencourageotherpotentialroleplayersinourlocalglassindustry, aswellascollectorsandsupportersofthearts,todothesameand investinthefutureofourartisans,designers,andartists.These arethemagiciansthatkeeptraditionandskillsalivethatpredate modernmass-producedconsumables.Withoutyoursupport,thecraftand creativeinnovationofhandmadeglasswillslowlybeextinguished.
Thankyoutotheartistsandtheircreativeinterpretationsexhibited at‘FiredUp!’.YouaresettingabenchmarkofwhereAfricanglassis atinthispresentmoment.
Iwouldliketothanktheteamofcolleagueswholeheartedlywhohelped andsupportedthisprojectbydedicatingtheirtimeandexpertiseto the‘FiredUp!’vision.Thankyou,Chas,CaitlinandMartli.Without you,thishillwouldhavebeenamountain.
Glassisateamsport. LotharBöttcher-curator,instigator,artist
FanusBoshoff
Pretoria-basedstainedglassartistFanusBoshoffhasbeen designingandmanufacturingartglasssince1990.
Inthe1990s,BoshoffapprenticedwithLeoTheron.Therontrained inFranceintheDalledeVerreglasstechniqueinthe1960sand collaboratedonvariousprojectsinsouthernAfricauntilhis deathin2010.
TodayBoshoffmostlyspecialisesinliturgicalartworkfor religiousspaces,inthetraditionalstainedglassandDallede Verretechniques.
0834489408
fanus@artglass.co.za www.artglass.co.za
Mycelium(2022) DalledeVerre H:50W:50D:4cm
LotharBöttcher
Since1994,whentheDepartmentofGlass&DesignopenedattheTshwane UniversityofTechnology,LotharBöttcherhasbeeninstrumentalingiving glassavoiceasanexpressivemedium.
AfterhisstudiesinPretoria,BöttcherspecialisedasGlasschleifer (coldworker,carving,cutting,andpolishingglass)attheStaatliche FachschuleWeilburg-Hadamar,Germany.
In2019hecompletedPartsI&IIasMasterGlassCutter (Glasveredlermeister)attheStaatlicheGlasfachschuleZwiesel. Heregularlyexhibitsinnationalandinternationalgroupshows.Most recently,heexhibitedintheNewGlassNowexhibitionatthe Smithsonian’sRenwickGallery,UnitedStatesandtheToyamaGlassArt Museum,Japan.
Böttcherworkisrepresentedinternationallyinmuseumssuchasthe CorningMuseumofGlass(UnitedStates),GlasmuseumFrauenau(Germany), GlasmuseumHadamar(Germany),GlasmuseumLette(Germany),andPretoria ArtMuseum(SouthAfrica).
Forthe2021and2022GlassArtSocietyconferences,Böttchercopresentedlectureswiththeinternationalcold-workercollectiveLathe Riders.
HeisanactivecommitteememberofthePretoriaArtsAssociation.Over thepasttwodecades,hehasalsocuratedseveralexhibitionspromoting glassasacreativemedium.
PieceofCake
Iloveirony.PieceofCakewasdifficult.
Thecircumstancesatthetimeofmakingthisworkhavebeendemanding.So manyunexpected,personallife-changingtwistsandturnsemergedduring thewinterof2022.Thefuturehasbecomeamultifacetedhazeof uncertainty.
Myattentionwasfocusedoncreatingasculpturethatencapsulatesmany techniquesanddisciplinesofglassmakingandalsotellsastorywith humourinmydarkhours,givingmemomentsofcatharsisandbliss.
EnjoymyPieceofCake… 0832767594 lothar@lotharbottcher.com lotharbottcher.com
Pieceofcake(2022) Blownglass,cut&polished,fusedglass,opticalglass,cutand polished. H:26W:30D:28cm
AnselmCroze&KitengelaGlass, Kenya
You’llfindtheglassproductionfacilityKitengelaHotGlass (@kitengelahotglass)whentravellingnorthontheAfricancontinentupto Kenya.
ThisinnovativefacilitywasestablishedbyAnselmCroze.Inspiredby Nani,hismother,whoworkedwithstainedglass,Crozewasencouragedto findoutaboutmoltenglass.HewenttoHollandafterhiseducationto understandglassmakingwithWillemandBernardHeesen(@bernard_heesen) intheearly1990s.
Duringthisapprenticeship,hefellinlovewiththefrustrating, challenginganddeeplysatisfyingprocessofglassblowingandreturned toKenya,allfireduptosetupthecraftandEastAfrica'sfirst glassblowingcompany–KitengelaHotGlass.
Distinctiveinspiritanddesign,KitengelaHotGlassislocatedonthe edgeoftheKenyanwilderness,fiftyminutesfromtheNairobicitycentre. Peoplecomefromallovertheworldtovisit,drawnbythemagicaland antiqueartofglassblowing.
Traveldownontotheplainsacrossruttedroadsthroughscrublandanda ravineandyouwillbetransportedintoanotherspaceandtime.
+254722523284 anselm@kitengela.com www.kitengela.com
No(r)Egrets(2022) Recycledglass,wroughtiron H:25W:10D:12cm
BarbaraEwinggrewup,waseducated,married,andraisedafamilyin Zimbabwe.Herlong-timefascinationwithglassstartedwithher1950sand 1960sstudioglasscollection.
Afterstartinghercareerinastructuralengineeringdrawingoffice,she wentontorunherownceramicsstudiomakingstonewareandporcelainand developedherownglazeswiththehelpofhermetallurgicalchemist husband.
Thenfollowed20yearsasaproductdesigner,designingfurniture,home accessories,andlighting.SheworkedwithhersonAngusexperimenting withfusedandslumpedglassfortheirlightingdesigns.
EwinghadanexcitinginvolvementinasmallhotshopinZimbabwewhere sheproducedglasswarefromrecycledbottlesusingafurnacefiredwith reclaimedoldengineoil.Unfortunately,theadventurewascutshortby thecollapseoftheZimbabweeconomyin2008,whichnecessitatedher relocationtoSouthAfrica.
Shejoinedhermentorandwell-knownglassartistNeliusBritzatCape GlassStudiolatein2011,wherehegenerouslytaughthertheglass castingprocess,whichhasbecomeherpassion.
RecentlytheclimatecrisishasbecomethefocusofEwing’sinterestand herlatestpiecesrepresentthis.Shebelievesthatglass,asa recyclablematerial,willtakealeadingroleinafuture(hopefully) sustainableworld,especiallyastechnologicaladvancesaremadeinthe fieldofglass.Thereisalsorecognitionoftheamazingmaterialthatis glass!
EwinghasexhibitedinZimbabweandSouthAfricaandhasworkedinon collectionsinternationally. 0793829664 barbara@mwedziglass.com MwedziGlass
BarbaraEwing
Wing(2018) CrystalCastGlassusingthelostwaxmethod. H:21W:23D:19cm
•2022NiroxSculpturePark–‘GoodNeighbours’wintersculpture
•ExploringVisualCultures–‘CollectiveMemory2021’
0847262970
CaitlinGreenberg
CaitlinGreenbergcompletedherbaccalaureustechnologiaedegree in2009atTshwaneUniversityofTechnology.Shespecialisedin glassblowingandglasssculpture.Shegraduatedwithacumlaude master’sdegreein2018.Thebodyofworksheproducedforher master’sdegreeincludedaninstallationconceptualisedaroundthe psychoanalyticalandcontemporarymanifestationsoftheshadow experiencedthroughglassobjects. Greenberghasparticipatedinseveralgroupexhibitionsandsome ofthehighlightsare:
exhibition
internationalonlineexhibition •PretoriaArtMuseum–‘BlowYourSculpture’exhibitionsin2021 and2019 •PretoriaArtAssociation–‘BacktotheFuture’groupglass exhibition2018 •CoolCapital–‘LightyourFire’groupexhibition2016. Competitionhighlights:ThamiMnyeleArtAwardsJohannesburgfinal selection2018and2007,SasolNewSignaturesatthePretoriaArt Museumfinalselection2014,andPPCCompetitionatthePretoria ArtAssociationfinalselection2007.
c.greenberg1@gmail.com
UnspokenThoughts(2021) Blownglass&mixedmedia H:250W:80D:80cm
MartliJansenvanRensburg
JansenvanRensburgisaSouthAfricanglassartistusing glassblowingtechniquestocreatesculptures.Aftergraduatingin 2000withaFineArtsdegreeinglass,Martlitrainedand practisedasaglassblowerinEngland,Germany,andScotland.In 2004,shestudiedGlassDesignatKalmarUniversityinSweden.
In2008,JansenvanRensburgandGlamosaGlassstartedSmeltGlass Studio,andin2013sheandMikeHyambecamethedirectorsof SmeltGlassStudio.Thefocusofthestudioistopromoteglass innovationandexplorationinSouthAfrica.Whilecreatingart piecesandlecturingfor20yearsatTshwaneUniversityof Technology’sDepartmentofGlassArt&Design,shedevelopedher brandMoltenGlass.
InJansenvanRensburg’sForgivingRockseries,sheexploresthe seenandunseenworldsandthephysicalandspiritualworlds. Thehand-blownglassamoebasfloatonatransparentglass landscape.Theamoebassymbolisehumancells.WhenJansenvan Rensburgwas22yearsold,sheheardhowforgivingpreventsbeing stuckinpastexperiences.Thistookheronapersonaljourneyof forgivinghermotherandfather.
Twoyearsago,JansenvanRensburgsawapictureofariverin someone’sheart.Inthisrivertherewererockssymbolising unforgiveness.Sincethen,shehasexploredrocksinherwork.The rockssymbolisethestoryofforgiving.
0824571674 martli@moltenglass.co.za SmeltGlassStudio
ForgivingRocks-Memory,Treasures,Scars (2022) Toughenedglass,handblownglass,stainlesssteel Memory,Scars:H:50W:50D:12cm Treasures:H:60W:60D:12cm ForgivingRocks-Memory ForgivingRocks-Scars ForgivingRocks-Treasures
JamesMagagulaisfromEkupheleni,KingdomofSwaziland.
HestartedworkingatNgwenyaGlassinDecember1987asatrainee glassblower.Hehasworkedhiswaythroughtherankstobecomea teamleaderandunderstudytomasterglassblowerSibusisoMhlanga. Whennewdesignsandconceptsaretested,Magagulaandhisteam generallycomeupwiththemethodsandtechniquestoturnthese ideasintoreality.Magagulaisneverdauntedbyadesignortask andisalwayswillingtoatleasttryitseveraltimes.He generallygetsit“justright”innotimeatall!
MagagulaspentthreeweeksinHollandwithsomeofthecountry’s topglassartistsanddesigners,includingRichardPriceandPeter Bremers.ThistimeinEuropeexpandedhisknowledgeofvarious glass-makingtechniques.Heisnowwellonthewaytobecominga world-renownedglassartist.
DuringworkshopsheldatNgwenya,Magagulawasprivilegedtowork withworld-renownedglassartistsPeterBremers,Jan-ErikRitzman, RichardPrice,TimShaw,RichardJolley,MarcoLopulalan,François Arnaud,JamesDeveraux,andDavideSalvadore.
Artistsstatement:
YouwillnoticethatPeterBremersandRichardPriceareamassive influenceonmywork.Also,SibusisoMhlangaisthemasterwho taughtmeeverythingandisthereasonIblowglass. 0832636659 chas@ngwenyaglass.co.sz NgwenyaGlass
JamesMagagula,Eswatini
Umphakatsi(RoyalKraal)(2022) Recycledglass,blownandsculpted H:18W:45d:45cm
RyanManuel
TheBorillaGlassteampredominantlydoesflamework(lampwork) glassart.Theyalsodocustomworkinvariousstylesofhotglass work.TheyuseacustomGTTSamuraithree-stagetorch,whichis currentlytheonlyoneinAfrica,andtheyarehopingtospread thisnewstyleofglassblowingandsculptingtotherestofSouth Africa.
ThestudioisatthePrisonBreakMarketinKyalamiandisopento thepublicforviewingandforlessons.
BorillaGlassisatwo-manteamconsistingofRyanManueland TheunsvanderWesthuizen:
RyanManuel
RyanManuelstartedhisglassjourneystudyingFineArtatTshwane UniversityofTechnologyandduringhisstudieswenttotheGlass CentruminLeerdam,theNetherlands.Heworkedforashorttime withSmeltGlassStudioinMelvilleafterhisstudiesandforThe CrucibleinBenoniforafewyears.Hethenworkedtowardssetting uphisownstudiotocontinuehispersonaljourneyasaglass artist.
TheunsvanderWesthuizen
TheunsvanderWesthuizencontactedRyanManuelthroughamutual friendwhileManuelwasplanningthenewstudio.Vander Westhuizenwaslookingforawaytofollowhisloveofglass,so hedidasmallapprenticeshipunderManuelandboughtequipmentto keeppractising.Sincethen,vanderWesthuizenhasgrownintoan artistinhisownrightandisManuel’sbusinesspartneronthe sameglassartjourney.
0837998282
ryan@borillaglass.com www.borillaglass.com
OrangeBloom“Evolved”(2022) Mixedmediaglass,stonewood,blownandpolishedglass H:40W:60D:40cm
SueMeyerwasborninLondonin1943.ShewaseducatedattheRoyal BalletSchoolanddancedwiththeRoyalBalletCompany.Afterimmigrating toSouthAfrica,shebecamewell-knownasaceramicartist,especially forherbeautifullydesignedandmeticulouslyexecutedporcelainbowls. Sheturnedtoglassin1992.Throughperseveranceunderdifficult circumstanceswithhardlyanyinformationaboutglassinSouthAfrica, shemasteredthetechniqueofthisunforgivinganddifficultmedium.She isconsidered,alongwithNeliusBritz,tobeoneofthepioneersofthis kiln-formedglassmediuminSouthAfrica.Shehasanextraordinarysense ofbeautifulform.
Meyersays,“Ithinkthatthegreatestinfluenceonmysenseofformhas beenthoseyearsoftrainingasadancer.Themountainsandgeneral naturalhabitatofCapeTownwhereIlive,aswellaspersonal perceptionsofhumanrelationships,contributetomyinspiration.”
Meyer’screationsfindtheirwaytomanycollectorsinSouthAfricaand abroad.SheiscloselyaffiliatedwiththeCapeGlassStudioand collaborateswithNeliusBritzinexecutingarchitecturalinstallations.
0782189685
suemeyercpt@gmail.com CapeGlassStudio SueMeyer
Abstract(2018) Fusedsheetglass H:33W:43D:3cm
SibusisoMhlangaisfromPiggsPeak,KingdomofSwaziland.Atthe tenderageof19,hestartedworkingattheSwaziGlassCraft factory(tradingasNgwenyaGlassfrom1979andclosingin1985). TwoofthemosttalentedtraineesweresenttoSwedentothe renownedKostaGlasbrukwheretheylearnedfromleadingartisans. Mhlangawasoneofthesetalentedyoungmen.
NgwenyaGlassre-openedin1987.Mhlangawasdelightedtocontinue hisspecialisedartofglassblowing.HehasvisitedSwedenseveral timestoworkwithandassistworld-renownedmasterglassblower JanEricRitzman.InJuly1998,Mhlangaalsohadthegreathonour ofassistingRitzmanatPilchuckGlassSchoolinSeattle,United States.
MhlangahasworkedwithleadingDutchdesignerPeterBremersand hasheldexhibitionsintheGalleryLeonSaletinMaastricht, HollandandattheEdgeGalleryinCapeTown.Hehasalso exhibitedatnumerousgalleriesandvenuesinSwazilandandSouth Africa.
DuringworkshopsheldatNgwenyaGlass,Mhlangawasprivilegedto workwithworld-renownedglassartistsPeterBremers,Jan-Erik Ritzman,RichardPrice,TimShaw,RichardJolley,MarcoLopulalan, FrançoisArnaud,JamesDeveraux,andDavideSalvadore.
Artistsstatement:
PeterBremerstaughtmesomuchaboutdesignandcolour combinations.IblowglassbecauseImetmymentorJan-Erik RitzmanatKostaGlasbrukin1979.Hehasbeenmyinspiration, teacher,andfriendeversince.
0832636659 chas@ngwenyaglass.co.sz NgwenyaGlass
SibusisoMhlanga
Spring(2022) Recycledglass,handblown H:32W:30D:30cm
StephenMofokengisaSouthAfricancontemporaryartist.He studiedFineArtatTshwaneUniversityofTechnologyandgraduated withaBTechcertificate.Heisprivilegedtolearnandworkat SmeltGlassStudio.
Heisanapprenticeforwell-knownglassartistslikeMikaelHyam andMartliVanRensburg(ownersofSmeltGlassStudio)andLothar Böttcher(ObsidianGlass),tonamefew.In2021,heparticipated inthe‘BlowYourSculpture’exhibitionandcollaboratedwith SouthAfricanglassartists.TheexhibitiontookplaceatPretoria ArtMuseum.
Thissculpturecommentsontherecent....thattookplaceina shortspaceoftime.Mofokenglosttwoclosefamilymembers(an oldersisterwhopassedawayduetoashortillnessandabrother duetoafatalaccident).
Weallhavelostourclosefriends,family,andcolleagues.Death causessorrow.It’ssadtodepartfromthoseweareveryfondof orlove.
Dovesrepresenthealingandthereturnofhopetocarryonafter sorrow.Hence,thetitleoftheartworkis“Deathbenotproud”.
0628664726
vusimofokeng4@gmail.com
StephenMofokeng
Deathbenotproud(2022) Blownglass,wood,wire H:25W:25D:15(each)
KgotsoPati
KgotsoPaticomesfromtheFreeStateandiscurrentlylivingin Pretoria.Patiisnotamanofmanywordsandwouldratherlethisart speakforitself.
Growingup,Patineversawhimselfasanartist,althoughheknewhowto drawfromanearlyage.Hejustneverthoughthecouldmakeacareerout ofit.
WhenhewontheEkasiCompetitionfordrawingacartoonInGrade10,it wasthefirsttimePatirealisedhecouldmakealivingoutofart.
WhenPatistudiedatTshwaneUniversityofTechnologywasthefirsttime hewasintroducedtotheglassmedium,andheimmediatelyfellinlove withit.AlthoughPatiusesotherartmediums,suchasbeadsandwires forotherartpieces.Glassishissignatureartmedium.
kgotsopati@gmail.com jstpatiglass.co.za
0835972056
Phoenix(2022) Blownglass
DavidReadeisdoubtlesslySouthAfrica’sbest-knownglassblower. BlowingglassamidhotfurnacesisallthatDavidReadehasknown sincehisteenageyears.“WhenIwas16,Ivisitedaglassstudio ontheIsleofWight.Iwatchedthemasteranditgrabbedme completely,”hesays.IttookReadethreeweekstoconvincethe studiototakeonanotherapprenticeandafurthersevenyearsto learntheart.ReademovedtoSouthAfricain1984.
Almostfortyyearslater,Readeisthecountry’sbest-known glassblower.Hecreatesfunctionalandsculpturalworksand commissionsforsomeofthecountry’stopalcohol,cosmetic,and architecturalbrands.
Reademakeshisclearglasshimselffrom“trueCapesand”.Each piecestartsasaballofmoltenglassattheendofanironpipe. Reade’sassistantthenblowsthroughthepipewhileReadeshapes theballusinghandheldtools.
0233423103
drreade@netactive.co.za Davidreadeglassart.co.za
DavidReade
GlacierVases(2022) Handblownglass,cutandpolished H:42W:25D:18cm(each)
NicoleRoweisamixed-mediaartist.ShehasfrequentlyexhibitedatThe ViewingRoomArtGalleryandtheArtBoxGallery.Rowenowlivesin Centurion,SouthAfrica.
SheearnedherDiplomainFine&AppliedArtsatTshwaneUniversityof Technology.ShealsocompletedherBTechdegreetherewithaDiplomain Glass.ParticipatinginworkshopsattheNgwenyaGlassfactoryonly reinforcedherloveforthemedium.
Herapproachtocreatingworkisunusual.Sheusesglassasherprimary resource(betheglasstextured,digitallyprinted,spraypainted,or sandblasted).Shethensetsouttocombineitwithothermediums.
In2019,shewasexcitedbythepossibilitiesthatthedigitaldomain couldofferandactivelypursuedandexperimentedwithvariousmediums Roweisthefirsttoacknowledgethatthisapproachcanbechallengingand isoftensurprisedbyresultsthatcanbebothunexpectedandthrilling.
In2018,shewasselectedtoparticipateinanexhibitiontitled‘Backto theFuture’featuringcontemporarySouthAfricanglassartistsandhosted bythePretoriaArtsAssociation.Herworkwasalsoshownatthesame venuein2016inanexhibitiontitled‘OutoftheFire,andintothe Light’.
In2015,RowewassponsoredbyTelkomfortheITWebBrainstormCalendar Competition,andinthesameyearsheheldherfirstsoloexhibition‘A BeautifulMind’attheArtLovers1932gallery.
In2014,Rowewasselectedasoneofthetop10winnersofABSA L'Atelier.TwoblogpostswrittenbyMicelleCoetseerelatedtoRowe’s workaretitled‘NicoleRowe–theFREEDOMtobe’and‘NicoleRowe–passionateconceptualartist’. 0727133259
nicolerowe@ymail.com
NicoleRowe
ProjectSilica(2022) 5differentthicknessclearsheetsanddigitallylaminatedprinted vinyl,layers,glued,framed H:5W:42:D:32cm
GuidovanBesouw
GuidovanBesouwenteredtheartworldwhentheopportunityarosein 1977.Hewas26andservedasanapprenticeunderestablishedstained glassartistAntonVoorveld.
In1980,vanBesouwlaunchedhiscareerasafull-timeglassartistby creatingasetofwindowsandskylightsfortheRoyalGrillRestaurantat theRoyalHotelinDurban.In1984,vanBesouwwasinvitedtoagroup glassartexhibitionatTheKwazuluNatalSocietyoftheArtswherehe sawblownglassbyShirleyCloete,DavidReade,andBarryThompson.He wasfascinatedbythepotentialofthiscreativemedium.
Tenyearslater,in1994,hestartedtoresearchinearnestthe possibilityofblowingglassandexploringthepotentialofmakinghis ownglassforstainedglasswindows.By1996,hehadbuiltafurnaceand hadacquiredkilnsandmostofthetoolsneededtoblowglass.Earlyin 1997,vanBesouwstartedmakingglass,teachinghimselfanddeveloping hisskillsalongtheway.
Today,vanBesouwisrecognisedasoneoftheleadingglassblowersin SouthAfricaandhasmasteredtheartofhand-blownglass.Hewasawarded the2003SAElleDecoInternationalDesignAwardfortabletopglass.Van Besouwhasworkedwithglassforthirtyyearsandunderstandsthemedium anditspotential.Hehasauniqueabilitytobalanceandmatchcolour. Hedrawshisinspirationfromnatureandhisyearsofexperiencecreating stainedglasswindows.
HeworksfromhisstudiosetamongthegreenhillsofAssagay,KwaZuluNatal,closetotheValleyofaThousandHills.Fireandsandcombineto makeliquidglass,whichvanBesouwtransformsintoindividualart pieces.Threedayslater,theglassemergesfromtheannealingkilnin allitsbeauty,reflectingthecoloursoffire,sky,earth,andwater.
SomeofhiscommissionshavedecoratedCapeTown,Johannesburg,Durban, andLuandainternationalairportsandtheBlueWatersHotelandTheRoyal HotelinDurban.Manypieceshavebeenpresentedasofficialdiplomatic giftsbyvariousSouthAfricandignitaries.Hisworkcanalsobefoundin manygamelodgesinandaroundsouthernAfrica.Thereareover400 stainedglasswindowsthathehasdesignedandmadeinchurches,schools, countryclubs,civicbuildings,andprivatehomesaroundSouthAfrica. 0828040196
gvbglass@lantic.net guidovanbesouw.co.za
BushveldFireVase(2022) Blownglass H:49W:26D:26cm
RetiefvanWyk
VanWykwasafoundingmemberoftheConsolGlassHousein1996at theDepartmentofFine&AppliedArts,TshwaneUniversityof Technology.HeactedassubjectleaderforGlassandCeramics untilhisretirementin2018.VanWyknowfocusesonproducing architecturalanddomesticglassattheGFAGlassstudio.TheGFA GlassStudiowillenteritsseconddecadeofproductionin2019.
VanWykstudiedFineArts,CeramicsandGlass,acquiringanMTech inFineArtsfromtheTshwaneUniversityofTechnology.Hehas lecturedwidelyatacademicinstitutions,includingTechnikon Witwatersrand,UniversityofNatal,andTechnikonPretoria.
In2018,VanWykwasaguestlectureratTheLargeGlass Department–GerritRietveldAcademieinAmsterdamandin2019at CamOcagi–TheGlassFurnaceinIstanbul,Turkey.
Hehasnumerouspublications,includingTheCeramicArtofRobert Hodgins(BellRoberts;2008)and‘Technicalissuesonglass manufactureinIndia’,inScience,CraftandKnowledge: UnderstandingofScienceamongartisansinIndiaandSouthAfrica –across-culturalendeavour(Protea;2002)
VanWykuseskilnformingtechniquestomanipulateglassinto canvassesasformatsforhisartisticexpression.Heoften combinesvariousmediawithglasstocreateartisticworks presentedasgalleryexhibits.Amorecommercialaspectofhis oeuvreemploysglassblowingtechniquesforcreatingdomesticand architecturalglass.
0832910917 glassforming@gmail.com Glassforming.co.za
Isthisyourcountry?(2022) Glass H:50W:40D:1cm
OriginsCentre,WITS
TheWitsUniversityOriginsCentrewassokindtobepartof ‘FiredUp!’.
Severalbeautifulexamplesofhistoricglassbeadsfoundin archaeologicalsiteswithinsouthernAfricacomplimentedour contemporaryglassworksintheEastGalleryofthePretoriaArt Museum.
TheGardenRollersdeserveaspecialmention.TheselargebluegreenbeadsaretheproductofthefirstandonlysouthernAfrican glassbeadindustryinthearchaeologicalrecord.Thebeadsdate tobetween1030and1220CEandwerefoundattheK2and MapungubwesitesintheLimpopoProvince.
“CraftsmenmeltedsmallerglassbeadstradedfromtheEastAfrican coasttomakenew,largeronesinsingle-useclaymoulds.These beadsweretradedfarintotheAfricaninterior.”
“Withtheadventofsophisticatedtechnologiesafterthe1960s, therewasrenewedinterestinglassbeadsasareliablemethodof datingarchaeologicalfindsandtracingtheirorigins.Thesebeads aremadefromsoda-aluminaglass,linkingthemtoproductionsites intheRedSeaandtheMediterranean.”
Thecuratorialdecisiontoincludetheseexceptionalhistorical artefactsweavesathreadfromtheoriginsofsouthernAfrican glass-makingtothepresent.
ThankyoutotheWitsUniversityOriginsCentreandTammy HodgskissReynardformakingthiscollaborationpossible.
YoucanvisittheWitsUniversity OriginsCentre website here to learnmoreabouttheirexcitinglineupofeventsandresearch.
WitsUniversity OriginsCentre
“GardenRoller”beadandclaymould. Theselargeblue-greenbeadsaretheproductofthefirstandonly SouthernAfricanglassbeadindustryinthearchaeologicalrecord. Theydatebackbetween1030to1220CEandwerefoundintheK2 andMapungubwesites,LimpopoProvince.
FiredUp!Opening,03September2022, PretoriaArtMuseum
TheFiredUp!GlassSymposiumaimedtoopenconversationsonthe futureofglasswithinanAfricancontext. Thefollowingspeakerswerekindenoughtosharetheirtimeand knowledgewithus: AmandaEsterhuysen (OriginsCentre,WITS), Excavatingsocio-economic networksthroughglass AlessandroMayes (ArdaghGroup,SouthAfrica),Manufacturingcontainer glass KarlienThomashoff (ThomashoffArchitects), GlassinAfrican Architecture ChasPrettejohn (NgwenyaGlass,Eswatini),Sustainableglassandthe circulareconomy Alldelegatesweretreatedto liveglassblowingdemos withmaster blowersfromNgwenyaGlassintheTUTglassstudiohotshopwhilst enjoyingalightlunch. WatchthepresentationsonYouTube: https://youtu.be/-FF0_64mVcA FiredUp!GlassSymposium Sustainability-History-Architecture-Industry-Art TUTArtsCampus,01October2022 AmandaEsterhuysen LotharBöttcher ChasPrettejohn KarlienThomashoff AlessandroMayes
FiredUp!GlassSymposiumLiveDemos LiveGlassBlowingDemoswithSibusisoMhlanga&JamesMagagula(NgwenyaGlass, Eswatini),MartliJansenvanRensburg(SmeltGlassStudio) Allphotoscanbefoundhere: SouthernAfricanGlass(Facebook) TshwaneUniversityofTechnology,ArtsCampus,GlassStudio
TheFiredUp!&IYOG2022SouthernAfricanTeam (fromlefttoright) ChasPrettejohn(chas@ngwenyaglass.co.sz) CaitlinGreenberg(greenbergcj@tut.ac.za) MartliJansenvanRensburg(martli@moltenglass.co.za) LotharBöttcher(lothar@lotharbottcher.com)
NextGenerationofGlassArt
The‘NextGenerationofGlassArt’exhibitioncelebratessouthern Africanglassartandbringsyouglassinamyriadofcreative interpretations.TheexhibitionwasheldatTheViewingRoomArt Galleryfrom10Septemberto20October2022.SeveralTshwane UniversityofTechnologystudents,lecturers,andalumsfromthe FacultyofArts&Designtookpartintheexhibitionthatcoincidedwith theUnitedNations2022InternationalYearofGlass,focusingonthe essentialroleglasshasinart.
Theexhibitionweavesupcomingandprofessionalglassartistsinto oneexhibition.Theexhibitionthereforeshowcasesthebestofglassin allforms,suchasblownglass,flamework,coldshopwork,kiln forming,andcasting.
AbigthankyougoesouttotheTshwaneUniversityofTechnology DepartmentofFine&StudioArtswhereglassisoneofthemany disciplinesonecanstudyaspartoftheirdiploma.
Theexhibitionconsistedofupcomingandcontemporaryglassworks bycurrentglassartistsandthenextgenerationoftrailblazerswho havetransformedandcontinuetoshapethesouthernAfricancreative glassindustry.
The‘NextGenerationofGlassArt’exhibitionwascuratedby:
MartliJansenvanRensburg(martli@moltenglass.co.za)
CaitlinGreenberg(greenbergcj@tut.ac.za)
PhotosbyTUTstudents.
The‘NextGenerationofGlassArt’exhibitionwasexactlywhatourstudioneededafterthe pandemicandbeingsodistantfromoneanotherfortwoyears,wherewehadlittle contacttimewiththestudentsinthestudio.TeachingGlassonlinewasverychallenging aswespentsomuchtimedesigningandplanningbutthephysicalmakingofglassart wasjustnotpossible.
Thankstothe2022InternationalYearofGlass,ourstudentswerebroughtcloser,and theyhaverebuiltrelationshipswithotherglassartistsandtheindustry.Thesenior studentshadalovelyopportunitytoworkwithNgwenyaGlassinEswatini.
Studentshadtheopportunitytodesignworksforthehotshopareaaroundtheir conceptualideas.Masterblowersintheindustry,SibusisoMhlangaandJamesMagagula helpedbringtheseon-paperdesignstolifeinglass.Studentssawtheimpossiblebecome possible.
MhlangaandMagagulasharedandengagedwithstudentseverystepoftheway.Abig thankyoualsogoestoChasPrettejohnfromNgwenyaGlassformakingthisdreamcome true.WelookforwardtoourannualhotshopglasssessionsatTshwaneUniversityof Technology.
@tutglassstudio
Master’sstudents •SaarahBegg •MalebogoMolokoane Advancedandpostgraduatediplomastudents •SindisiweMolefe •IngeLokwe TUTAlums: •RetiefvanWyk •LotharBöttcher •TshepoHlongwane •OlebogengDjamba •RyanMauel •CaitlinGreenberg •JasonGaryBrits •KgotsoPati •MartliJansenvanRensburg •ThatoKokwana •MikeHyam •ThabisoMokaba ArtistsfromoutsideTUT: •GordonFroud •TheunsvanderWesthuizen •MikeRabkin 3rd Years 2nd Years 1st Years •ZithuleleDeyi •TshidisoFinca •KutlwanoKgaladi •PrinceMabena •ThandekaMahlangu •NomathembaMamoele •SandileManzini •CartridgeMashiboko •PonaniMaswanganyi •AobakweMatsepola •SibusisoMbonani •LuckyMotla •JabulaniNtuli •SiphokaziNtuli •ThaboSegoto •MalwandeThwala
•MahloriBaloyi •JohnChauke •JoshuaDhlamini •AdamHlatswayo •ObakengMaluka •EuniceMatima •ThatoMbuyane •LithaboMmoa •PatriciaMolapo •KeitumetseMoloi •KopanoMosea •TheoMothoa •KgomotsoMtsweni •SiphoMuchanga •OnkgopotsePhukubje •JoySkosana •MartinMasetla •TumiLingwati •ThalenteMkhize •VuneneManganye •AdalyisaMendes •BrunoMawela •KeabetsweMolefe •AlexDibakwane •KagisoKhosana •KitsoLetsholo •SphamandlaSifunda •LloydNgomane •
1st YearStudents
2nd YearStudents
3rd YearStudents
GlassArtists
TUT&NgwenyaGlassWorkshop
Thinkingglassartlocally
Dr.PfunzoSidogispeechatopeningof‘NextGeneration’
AstheopeningspeakerforthisamazingcelebrationofsouthernAfrican glassart,astheexhibitiontitlesprofess,mytaskistwofold.
Formyfirsttask,allowmetogivedueplauditstotheorganisersand curatorsofthesewonderfulexhibits.Forthe‘NextGenerationofGlassArt’ exhibitiontakingplaceatTheViewingRoomArtGallery,IcongratulateMartli JansevanRensburgandCaitlinGreenberg-Harrup,togetherwiththeir curatorialassistantsSaarahBeggandMalebogoMolokoane,andStephen Mofokengwhoprovidedfurthertechnicalsupporttothiscoreteam.Andfor the‘FiredUp’exhibitionheldatthePretoriaArtMuseum,IululateforLothar BöttcherandChasPrettejohnfromNgwenyaGlassinEswatini.These dazzlingshowcasesareatestamenttoyourskilfulcoordinationofartworks comingfromarangeofartistswhoareatvaryingstagesoftheircreative careers,namelyfirst-yearstudentsthroughtomaster’sdegreecandidates, andofcourseexperiencedpractitionerswhoaresagesinthemediumof glass.Afurtherwordofappreciationtoalltheartistsparticipatinginthis exhibit.Withoutyourinspiredlabourofaffectionforglassartmaking,these exhibitions,assitesofknowledge,wouldnotexist.
Thesecond,morecurioustaskistoprovidesomereflectiononthe exhibitionsthemselves.AsIalwayssayduringopeningspeeches,especially forgroupexhibitionsofthisnaturewheretherearetoomanymagnificent pieces,Iwillrefrainfromtalkingaboutanyactualartworkorartist,because thatisalwaysadangerousbusinessfraughtwithbias.Instead,allowmeto focusonthepossiblemeaningsofthisimportantoccasionandofglassart itself.Fortheremainderofthisbriefreflection,Iwillpresentmysketched thoughtsandprovocationsonthephilosophicalparadigmofglassartwithin thesouthernAfricancontext.Asmanyofyouwillalreadyknow,theUnited Nations(UN)hasdeclared2022theInternationalYearofGlass.TheUN InternationalYearinitiativebeganin1959/60,whichwasdecreedWorld RefugeeYear,whereintheorganisationanditsglobalpartnersdedicatethe wholecalendaryeartoaspecialissueaffectingtheplanet.Sincethen,there havebeentheInternationalAnti-ApartheidYearin1978/79,theInternational YearofPeacein1986,andtheInternationalYearofthePotato,Sanitation, PlanetEarthandLanguagesin2008,tospotlightafew.Ofcourse,2022is dedicatedtoglassalongside,basicsciencesforsustainabledevelopment, sustainablemountaindevelopment,andartisanalfisheriesandaquaculture.
Whenmycolleagues,MartliandCaitlin,askedmetopresentthisopening address,Iattemptedtobediligentbydoingabitofresearchonthis importantglobalinitiative.OntheUNwebsiteisaninterestingpublication, whichisthankfullydownloadable,titledWelcometotheGlassAge: CelebratingtheUnitedNations2022InternationalYearofGlass,editedby JohnM.ParkerandAliciaDurán.Inthiscompendiumareessaysthat
explorethehistoryandapplicationsofglasswithinmodernsociety.Whilethe bookiswrittentoprovideaglobalperspectiveofglass,itisnosurprisethat Africa'spresenceinthevariousessaysissomewhatinsignificant.Besides theusefulandpracticalinformationabouttheglassindustriesthatexist aroundtheworldandthevariouseducationinitiativesthatseektocultivate moreknowledgeandunderstandingofthemedium,Iwascaptivatedbythe philosophyofglasswovenintothemanuscript.By‘philosophyofglass’,I refertothemeta-meaningorintrinsicdefinitionsofglassbeyonditsscientific orchemicaldesignation.Inotherwords,whataretheprevailingannotations ofglassasasocioculturalobjectandwhatdoesglasssignifyasbotha quantifiablesubstanceandanincubatorofmetaphors?Inshort,whatisthe ideologyofglass?IamfascinatedbythisquestionbecauseIholdthestrong convictionthatthewaysSouthAfricansocietyorAfrica,ingeneral,relatesto glassareinfluencedbythetheoryorperceptionofglasstheyconsidertobe true.Inmanyrespects,thereisacausalrelationshipbetweenthefutureof glassasanartisticmediumandtheideasofglassdiscernedwithinAfrican society.
IntheintroductiontotheUN-sanctionedpublication,Parker,Durán,andPye giveaglimpseintotheprevailingphilosophyofglassfromwhatIconsiderto beawesternisedcontextbyarguingthat“itisclearthatglasshasplayeda majorroleinadvancingcivilisationandmankindthroughoutrecordedhistory beitinthearts,architecture,transportation,medicine,communication,and especiallyimportant,otherbranchesofscience”(emphasisadded).From this,Iwouldliketohighlighttwophrases‘advancingcivilisation’and ‘recordedhistory’.Whilethereareseveralotherideasaboutglasspresented inthebook,especiallyinLotharWondraczek’schaptertitled‘Glassbeyond glass’,thisrationalisationofglassasamediumthathasfacilitatedthe progressofcivilisationwithinthecontextofrecordedhistoryisparticularly poignantfortheprovocationIhopetomake.Itisindeedundisputablethat glassisakeyingredientofthescientificrevolutionthatfuelledthe emergenceoftheindustrialageandthecurrenttechno-verseweinhabit. Withoutglass,manyspace-ageinnovationscouldnotexist.Yet,equallytrue isthatAfricaremainslargelyexternaloratbestincidentaltothisageofglass revolutioninthearenasofscience,medicine,andthearts.
WhilethereareseveralseminaltextsIcanreferenceinthisregard,without doubt,themostdecisiveaccountofAfrica’spositionalitytoglasswaswritten byGerryKing,arenownedAustralianartistandscholar.KingvisitedSouth Africain2013asavisitingscholarattheTshwaneUniversityofTechnology’s (TUT)DepartmentofFine&StudioArts.Besidesparticipatinginvarious exhibitionsandpresentingguestlectures,Kingalsocontributedan exceptionalessaytotheCraftArtsInternationaljournal,oneoftheleading periodicalsonthiscontentiouscategoryofcraftarts.Publishedin2016, King’sarticlewastitled‘Lightsonthedarkcontinent’andprovideda sensitiverecordingofthekeyprojectsandroleplayerslinkedtoTUT’sGlass Studio,whichwasestablishedin1995.Ofinterestistheopeningstanzaof hisarticlethatmakesmentionofAfricaanditspositionality
toglass:
Inthemid-19thcentury,‘TheDarkContinent’signifiedthatAfricawas unknownorrestrictedfromtheviewofthewiderworld.Thatnotioncontinues withsometruthinthatlessthanmightbeisknownaboutthecontemporary artsofAfricaforlittleofitispromulgatedintheinternationalmediacompared withthegreat‘oxygenstealing’centresofEuropeandNorthAmerica. Certainly,thisisthecasewithcontemporaryglass(emphasisadded).
Fromthisstatement,severalissueswarrantreflection.Inthemain,Iam drawntothesuggestionoftheinherentunknowabilityofglassartfromthe continent.AsKingnotes,thecontinuingpresumptionthatAfricaisadark continentisliterallysuffocatingAfrican-basedartistswhoseglassartworks remainmysterioustotherestoftheworld.Thisstatementincitesanattitude thatglass,amediumthatsymbolisesprogressinthecivilisedworld,is strugglingtostayafloatinthedarklandmassthatisAfrica.Inotherwords, thereisanincompatibilitybetweenglassartandAfrica.Throughouttherest ofthearticle,Kinggoesontostrengthenthisideaofglassasproviding momentsof‘light’inthedarkcontinentbylistingexamplesofcontemporary glassartistsemanatingfromTUT.Intheconclusion,Kingarguesthat:
The20yearsoftheTUTcourse,throughitsteaching,exhibitions, publications,andinternationalconnections,isthesparkandtheimpetusthat giveslighttotheadvancementofcontemporarystudioglassonthedark continent.
WhileIamappreciativeandproudoftheglowingreviewKingoffersabout theTUTGlassStudio,Iamequallydisturbedbyhisframingofglassasa mediumthatisbringinglighttothedarkcontinentofAfrica.Thisargumentis theflipsideofthesamecoinfoundintheUN’sInternationalYearofGlass bookthattheorisesglassastheharbingerofadvancementinworldhistory. MyconcernisthattheseEurocentricconceptualisationsofglassandits artisticmanifestationsarenotthetypeofthinkingthatneedstobegenerated whentheorisingglassfromanAfricancontext.
Thisthenbegsthequestion,whataretheexistingsocioculturalmeaningsof glassintheAfricancontext?Howhasglassbeenappropriatedbothasa practicalutilitariantoolandsymbolicculturalimplement?Icannotprovide definiteanswerstothesequestionswithinthisbriefessay,butsufficeitto saythatformostSouthAfricans–black,coloured,Indian,andwhite–who havenotbeenacculturatedintothewesternphilosophyofglassorhavenot drunkthe‘glassartrocks’Kool-AidpuntedbyTUT,glassartremainsan elusiveandincomprehensiblemedium,cloudedbydensemetaphorsand conceptualgymnastics.Furthermore,thetypeofartworksandcultural signifiersofglassthatpresentlycirculateinSouthAfricansocietyrelegates themediumtoanobjectthatis,forthemostpart,culturallyirrelevantand unrelatable.FormanySouthAfricanhouseholds,apieceofglassis expandable,replaceable,andnon-valuable.Otherformsofmaterialculture,
suchaswatches,phones,andcertainformsofceramics,holdamuch greatersocial,historical,andheritagevaluethanglass.Glass,outsideofits usageinarchitecture,hasnotyettransitionedconceptuallyintotherealm signifyingthemiddleclassinSouthAfricaandAfricagenerally.
Atthisjuncture,Imustacknowledgethegrowingscholarshipthathas emergedthattheorisesglassartfromaparticularlySouthAfricandisposition. Forexample,sincethestartoftheglassunitatTUTin1996(1994?),Retief vanWyk,whowastheprincipallecturerandsouloftheglassprogramme untilhisretirementin2018,contributedsignificantlytothecultivationof artistsandscholarswhoresearchandwriteaboutglassartpractice. GraduatessuchasMagdalene‘Maxi’Pretorius,ThabangMonoa,Caitlin Greenberg-Harrup,andmostrecently,LieslRoos,haveproducedquality researchprojects–inspiredandguidedtovaryingdegreesbyvanWyk–thatexplorethemeaningsandmanifestationsofglassartinthelocalSouth Africancontext.Withtheriskofprivilegingonevoiceabovetheothers, perhapsthemostcomprehensivephilosophyofglassinmodernSouthAfrica isfoundinMonoa’s2016investigationofglassasaliminalandhybrid mediumthatexistsinbetweentheprevailingcategoriesandclassifications ofart,design,andcraft.Butforthepurposesofadvancingmyprovocation,I turntotheideaspresentedinGreenberg-Harrup’s2017thesis.Usingglass astheanchormedium,Greenberg’spractice-ledresearchprojectwas fixatedonusingglassartasasystemofanalysisforthegruesomeand inhumansideofourhumanity.Asrecordedinanewspaperreviewofher stellarexhibition,“Shewantedtoteaseoutthe‘shadow’withinhumanityand themedia’sinterestinthemacabre”.Greenberg-Harrupcorroboratesthis appraisalofherworkbystressingthat,“Thetimelessnessoftheglasscan relatetoone’scollectivearchetypeoftheshadowthatisinherentfrom prehistoricmanandwillalwaysremainuntaintedbysociety”.Ifind Greenberg-Harrup’sviewofglassasamediumisconsistentwiththedarker, shadowysideofhumanityandisinstructiveforhowglasscanbetheorised inanalternategrammarthatismoreconsistentwiththeAfricanexperience. AlthoughGreenberg-Harrupdoesnotdirectlytheoriseglassusinglocal(that isAfrican)idioms,herstudyandcreativepracticerapturesthetendencyto glorifyglassanddisruptsthealmostsaintlystatusofthemediumasbotha materialthattransmitsphysicallightandasignifierofthespirituallight.
Inconclusion,therhetoricpuntedintheUNpublicationthatglassisa signifierofscientificallyandindustrialisedprogressivenationswithinthe frameofmodernhistoryiscounter-intuitivetotheglobalisationand internationalisationofglass,especiallyinex-colonisedworldslikeAfrica, wherethefalsedogmaofthesespacesasbeingreservoirsofpaganand darkculturesthatareinherentlyunmodernremainintact.Thinkingofglassin thiswesternlogosdoesnotbodewellforthefutureofglass–especially glassart–inthosedarksocietieswheredark-skinnedpeopledominate. Thereisanintrinsicincompatibilitybetweenthewesternisedphilosophyof glassandhowglassisactuallyappropriatedandutilisedinlocalAfrican contexts,andthereisamassivegapinscholarshipandresearchthatmarks
theselocalisedglasspractices.
Furthermore,theconceptualrelationbetweenglassandlightremainsa delimitationofhowglassart,asbothmaterialandmetaphor,canbe theorisedbeyondthewesternprism.Iamthereforedelightedtoseeartworks inbothexhibitionsthatintentionallysubvertandundothemedium’s predispositiontoopticaldepth.Glassisnotanobjectthateatsortransmits lightonly.Glassisaqueerobjectthatisopaque,brittle,sharp,unstable,and deadly.Glassiscompletelyunreliableanddifficulttotame.Glassisa“most challengingmedium”orasRetiefvanWykputsit,glassisa“jealous mistress”.Glassartcannotonlybeconfinedtothehightowerofultra-chic designandhighart,ironicallytheverymotivationofexhibitionssuchas these.Glassmustbetheorisedasamediumofthestreet,theordinary people,thefilthy,andmostdecisively,itmustbephilosophisedasamedium ofthedarkcontinent.Glassneedstobeanobjectofdifferenceand otherness.Glassisnotsublime,exceptional,oreco-friendlyonly.Itisa messyandvileobject,similartohowlivinginAfricaisamessyand dangerousproposition.
Asapartingprovocation,besidescreatingbeautifulartisticanddesigner objectsinglass,Africanartistsandscholarsshouldalsoinvestintellectual andmaterialresourcestowardstheorisingthemediumusinglocaland contextuallyspecifictermsandphrases.Theremustbealocalisation,not necessarilyAfricanisation,ofglassasbothartandculturalsignifier.Thefact thatglassartisrelativelyyoungintheculturalimaginaryofSouthAfricaisan openingtodefineanddeterminewhatitisandwhatitmeansforthisandthe cominggeneration.Projectssuchastheseexhibitionsareofcourseleading thewayinensuringthatglasswillonedaybecomeatrulySouthAfricanand Africanformofgeneratingmaterialcultureandheritage.
ThisisthefullversionofhisopeningspeachdeliveredattheopeningoftheNextGenrationexhibition atTheViewingroomArtGallery,Pretoriaon11October2022.
PfunzoSidogiisanarthistorianandlecturerattheTshwaneUniversityof Technology.
INTERNATIONAL YEAROFGLASS2022 Southern AFRICA
