Focal Point

Issue Six

February

2014

In-house Magazine of the

Western Cape Artists’

Society

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Focal Point Issue Six February 2014

Editorial

We are already several weeks into another year

and I’m sure many of you will have been

thinking about what you would like to achieve

during 2014. The WCAS committee is also busy

planning the year ahead for you, our members.

The society exists to serve the needs of our

members and we love to hear from any of you

(whether new or old members) with ideas or

suggestions.

We have 3 main sections to our service:

To provide monthly meetings to stimulate

the creativity or knowledge of members

To offer workshops (at least 2 per year)

where members obtain practical

experience in new artistic skills

Organising regular exhibitions where

members can show their latest work and

hopefully sell. We hold 2 annual

exhibitions but in 2013 we managed 2

additional ones (one at Imibala and one at

Livewell Suites) which resulted in

additional sales.

I would like to request that as many of you

as possible give us feedback on our services.

Do you take part in one, two or three sections?

If you do, are we meeting your expectations?

If you do not attend some of the sections, please tell us why.

Please send your feedback to kathywivel@gmail.com

At our AGM in February we will be electing a

new committee who we hope will continue to

build on the strong foundation of previous

committees. Here I would like to say a huge

thank you to Di White who has held the chair for

the past two years and done a fantastic job.

During her tenure she has opened the society to

a wider group of artists, listened to your ideas

and developed a facebook page and monthly

newsletter and this magazine. We have had

some excellent speakers to open our exhibitions

and inspiring workshop leaders and

professional judging at selection for our

exhibitions. Thank you so much Di and we hope

that you will now be able to devote more time

to your own artistic skills.

In this magazine we will look at who we create

art for and how we critique artwork. Some tips

are given for loosening up and working faster to

stop fiddling with detail.

We have had some interesting submissions

from members too which I am sure you will find

of interest. It is so good to receive these

interesting messages and so please continue to

submit them to me.

Kathy Wivell

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Articles in this issue

Page

Branch member news Annual Merit & Little Gems Exhibition December 2013

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The long read Who do we create art work for and how do we critique artwork?

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In conversation with… Marion Langton 7

The artistic journey Inspiration from Gavin Collins 9

Learning points How to loosen up 10

Out and About Barrydale artistic upliftment festival – by

Anita Glenister

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From our members Dividing your time – by Ann Selbach

Sumi-e and Chinese painting - by Moira Hulley

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What’s on Local gallery guide 15

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Branch member news

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The Long Read

Who do we create art work for? How do we critique artwork?

Quote - “Any artist should paint what they love and think about and feel about most strongly.

Artists do a lot simply by documenting the beauty of what they see – and by acknowledging that

it is finite. It is one way of saving and preserving.” Adam Strauss

Most of us start to create art because

we enjoy the process and we give little

thought to anyone looking at our work –

we are creating for our own pleasure.

However, as we grow as artists our

attitudes may change and we may be

more concerned with the viewer than

with ourselves.

I know of some artists who create

similar work over and over because it is

selling well, tweaking it a bit here or a

bit there. They are clearly painting for a

buying public.

Other artists obtain commissions and so

they paint to the customer’s desire. In

this case there has to be some

relationship between the type of art the

artist produces and the request from the

customer.

Artists may want to enter work for the

prestige of winning competitions or

awards. This allows them to have free

rein but within certain rules of the

competition – some being more

restrictive than others.

Quote – “Creativity involves breaking out of

established patterns in order to look at

things in a different way.” Edward de Bono

Some artists want to continue to push

the boundaries, either of their own

knowledge or of the established art

world. One such group is those

generally referred to as “street artists”.

(Here we need to distinguish between

artists and those who want to vandalise

space or make territorial statements)

Street artists also work from various

motivations but they want to

communicate with the public at large

about socially relevant themes and they

are commonly using their art to make

political statements for the oppressed as

can be seen in Egypt, Libya and Madrid.

While some street artists wish to raise

social or political awareness, others

simply see urban space as an untapped

format for their personal artwork whilst

yet others relish the adrenalin rush of

illicit artwork in public spaces. Many

just want their work to reach a wider

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audience than the traditional galleries

allow.

Some view street art as a criminal

activity, some as a denigration of our

city walls, others see it as a form of art

or a way of beautifying ugly industrial or

derelict buildings. Some cities are

setting up legal walls for street art and

some artists obtain commissions for

huge murals on public buildings or have

their work displayed in art galleries or

on film.

Quote – “I have never seen a painting that I

couldn’t be interested in. Even when I go to

a little motel and see someone painting a

little pink poodle, I know how difficult it is to

get that bunch of chemicals translated to a

surface without embarrassing yourself

beyond belief.” Picasso

Therefore, I ask which critic is correct?

This leads on to the question - What is

the value of critiques? Robert Genn in

his regular newsletters recently

commented on the way workshops

critique work. He says there are several

ways instructors go about this:

Where the instructor crits each

work one at a time either one-on-

one or with the group

Another is where the instructor

picks out work that needs help

and explains how to fix it

Students may be asked to crit

each other’s work

The better work may be

examined so that students learn

more from seeing and talking

about better work

Another way he has tried, is to get the

learners to crit the instructor’s work

without the use of words such as love,

like, nice and good. He noticed that the

novices are often freer with their

opinions than those with more skill. The

lesson here is that opinions vary widely

and no one crit is an accurate reflection

of another’s work.

Quote – “certain defects are necessary for

the existence of individuality.”

Johan Wolfgang von Goethe

Many of us do not consciously think of

who we are painting for and why, but

maybe we should.

Some of us take the critiques of others

too seriously. Maybe we need to take

them for what they are – the opinions of

others, which we may agree or disagree

with.

”If the object of crits is to hone our critical abilities, then we are winning. If it’s to give

arbitrary personalized opinions, then it’s not so hot. The wisdom of crits may be simply

to build the faculty of ‘authority’.” Robert Genn

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In conversation with

Marion Langton

Continuing in our interview series with some of our long-standing WCAS members, I interviewed Marion in her bright and busy studio at her home in Somerset West. Her initial comment to me was that “every artist should have a wife – I’d rather do a watercolour wash than the laundry!”

Interview by Chris Hall

When did you first realise you wanted to be an artist?

When I was 10 years old and attending Rondebosch Girls School, it was clear that I was artistic, but it wasn’t encouraged. We were expected to strive for something more academic. It wasn’t until I was 40 when I met Len Thomas; I had asked him about art lessons, then I changed my mind and tried to cancel – but he wouldn’t let me. So I studied under Len for two years.

Who has been your biggest inspiration or role model?

Ray Bridgman made a big impression; he was a purist. Then Susan du Preez, Stephanie Watson and Barbara Burry. I met local artists through SWAG (Somerset West Art Group). I also studied under Derric van Rensburg and Dale Elliot.

Which medium do you prefer to work in? Why?

I am passionate about watercolour; it’s sophisticated and very versatile. And you can just do it now! There’s no smell, no special preparation…and it always surprises.

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What inspires you most as a subject matter?

I began painting flowers from the garden, then landscapes. I paint figures, mostly women – maybe that comes from the feminist in me!

I begin my paintings with random washes and then I look for shapes. I create the images from there to develop the painting. It’s painting in the negative.

Have you ever experienced a real bolt of lightning – a moment that changed your art going forwards?

When I started teaching I changed the way I worked to prevent ‘cloning’ by my students. I teach subject matter every day. But the technique which I have developed means the shapes and the paintings are my own.

How do you feel about the South African art world at the moment?

Exciting, interesting, and certainly not boring. Not everything appeals to me of course but South African art and South African artists are definitely coming to the fore.

We see the impact that South African art is making by the prices it achieves overseas, such as Bonhams Auction House in London.

This magazine speaks mainly to part time artists who want to improve their work. What advice would you give them?

The four d’s: desire, dedication, determination and discipline. And damned hard work!

Most important is drawing. Any painting is good if the drawing is good. You can learn drawing, it’s doesn’t have to be a gift

And of course you’re learning all the time with art. Personally I love to have other people’s art around me.

Marion’s painting, “Mother and Child Reunion”

demonstrating her unique style and use of watercolour

Marion is an Associate of the Watercolour Society of South Africa, and a Fellow of the South African Society of Artists. She was awarded a medal of appreciation by the South African National Association of Visual Arts in 2010 for promoting art nationally and locally.

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The artistic journey

“Releasing your artistic self gives rise to a life of pleasure and struggle – as you use art to create

your own reality. Painters are philosophers, psychologists, mathematicians, chemists, scientists

and poets.”

Gavin Collins opened our annual Merit and Little Gems exhibition in the Circle Centre on December 12th 2013. In his excellent opening speech he said that in general artists have a bad reputation and are seen as people who paint for fun. It is not taken as a serious occupation.

He cited the example of applying to the bank for a loan and when hearing that he is an artist, they don’t look too favourably upon him. He asked if a vet who loves animals would be accused of operating on your pet just for fun, or is the dentist having fun filling your teeth?

It is therefore an uphill battle for artists to be taken seriously. He now prefers to refer to himself as a painter rather than an artist. He has vowed to not let any picture leave his studio in 2014 unless it is better than his last piece of work.

Maybe we should all try to follow suit.

“To me painting is more important than art. None of us know what art is. It is an abstraction.

It is not concrete. It is a discourse. In other words, it has to do with verbal construction. You

never can prove it. Everybody has a different idea about it, even though there can be a

confluence or consensus.” Wayne Thiebaud

See some of Gavin’s work here Visit his gallery on facebook

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Learning points

“Painting is very easy when you don’t know how, but very difficult when you do.” Edgar Degas

Styles of artwork

Realist the representation of objects, actions, social conditions, unembellished and as they

actually are

Figurative artwork clearly derived from real object sources – not necessarily of figures or animals

Impressionist characterized mainly by short brush strokes of bright colour in immediate juxtaposition

to represent the effect of light on objects

Classical from ancient Greece, Italian Renaissance painting and sculpture – a renewal of classical

forms, motifs and subjects

Decorative traditionally a term for the design and manufacture of functional items such as

ceramics, glassware, textiles, wallpaper and carvings

Naïve often characterized by a childlike simplicity in it subject matter and technique with

usually no respect for the basic rules of perspective

Whimsical fanciful, playful and odd – usually in an endearing way

Expressionist is the tendency of the artist to distort reality for emotional or spiritual effect

Graphic is typically 2 dimensional and includes calligraphy, photography, drawing, painting,

printmaking, lithography, silk-screen printing. It also consists of drawn plans and layouts

for interior and architectural designs

Abstract art that uses visual language of form, colour and line to create a composition which may

exist with a degree of independence from visual references of the world – fauvism and

cubism

Maybe we need to consider which style our work falls into?

“Invest in yourself. Quality material, and lots of it, can make the difference in expanding your

creativity. People are often too timid with expensive inks and papers. A plentiful supply of

materials frees you for successful experimentation.” Maxine Mansfield

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Activity: Loosening up exercises

I’m sure we’ve all heard of “self-fulfilling prophecy” – whereby the way in which you act encourages you to feel and be that way. So if you wish to show that you are a confident painter, you need to act as if you are really confident. If you want a less labored look to your work, act as if you are painting en plein air and have to work quickly before the light or movement changes. Ways you can loosen up:

1. Grab a large brush and stop fiddling with a small one

2. Give yourself a time limit - I recently started to make 30 minute sketches –

drawing and painting of my entire subject in A4 size and I found that it helped me

a lot. It helps to eliminate all the tiny fiddly detail we get caught up with and

makes us concentrate on the main shapes, colours, values and focus in our work.

3. Have all your materials ready and set a timer to one minute. Scrutinise your

photo or object for the minute and then move it away and do not look at it again

until you have finished the painting

4. Give yourself a ten minute timescale to complete a small (15 x 20cm) painting.

Have 3 or 4 large brushes ready so that you don’t need to worry about washing

them too much (particularly for acrylic and oil paint). Use thick paint in luscious

ways and simplify your subject to basics but see it within its background. If these

seems too daunting, try a monochromatic painting first and then move to colour

5. Complete a landscape picture in either 37 minutes or 37 strokes of the brush

Be strict with yourself and stop when your time is up. It is better to be 15 – 20% under-

painted than 1% over-painted. Remember paintings are to be seen and not of what is

actually seen.

Let us know how you got on with any of these exercises and whether they helped you!

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Out and about review

Anita Glenister sent us this account of

her trip to Barrydale

My daughter, Beatrice, and I went to Barrydale

over the December 16th holiday weekend.

Volunteers work with the youth of Smitsville

(township) to create a pageant/ parade each

year. A local story is chosen as a theme and

over a two week period the youth work on

preparing for the pageant with a focus on using

recycled materials to create puppets and props.

Net vir Pret of Barrydale, Magpie and

Handspring Trust are among the sponsors/show

producers. Mentors train group leaders to make

props and puppets who then work with the

youth in construction, choreography, dance

under the guidance of an ethnic director. This

year was the first time they had lights and

instruments to form a band. After only 2

months of musical tuition they could perform.

Their theme for this year was based on the

mythical mermaid of the Karoo.

The event took place on Sunday December 15th

in the evening – a fitting link to the burial of

Madiba. There was time for concern when the

heavens opened just as the parade was about

to start from the township school sports

ground. All the electrical equipment and

puppets had to be hastily covered. Then a

rainbow appeared and two parade groups were

organized to go separate ways and meet again

at the school. We followed the one procession

where a life size elephant puppet ambled along

and it was such a happy carnival walk with

perfect photographic lighting after the rain.

Townsolk, Barrydale supporters and plenty of

visitors crammed the viewing area. Handspring

had supporters from England, Toronto,

Johannesburg and Cape Town.

This is the third year and each one has

improved upon the last. I was so impressed

with the final result of the production. These

children had obviously shown commitment not

only creating the puppets to put across a story

using large numbers to sing and dance as well. I

was uplifted by the grateful thanks of the youth

leaders to their mentors at the after-party braai

sponsored by Handspring Trust. They obviously

gained so much and were appreciative. They

were left with the hope that one day post

school they would aim for tertiary education at

UniWestCape – one of their professors was also

involved.

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From our members

Dividing your time

Ann Selbach sent us the following article taken from Vol 9 issue 11 November 2013 Virtual Art

“So how do you divide your time and study time? This is up to you. Personally I spend

90% of my time as study and 10% of my time as painting time. This is partly because of

my own personal drive to become a better painter, but also, I suspect, because I’ve noticed

that many of my “best” paintings were produced during the study time. It seems likely that

you do your best work when the pressure is off, and you are more adventurous.

When you do a little practice regularly, spread over a period of time, you retain it better

than if you practice a lot, concentrated in a short period of time, and then do not practice

again until the next burst of activity.”

Following on from that I came across an article recently in Artist Daily November 22nd 2013

about doing 5 minute drawings to both free you up and to help you plan a composition. This

way you concentrate on gesture, focus on how to draw organic lines and really explore the

composition or pose. This can help you to start thinking of the separate parts as a whole and

can lead to interesting compositions. It is a good idea to start by drawing a rectangular box to

work in. This makes one concentrate on where to put certain elements into a composition.

Because these drawings are produced at speed you should not be concerned about what you

produce, but they will help you to learn good drawing and composition habits such as working

from large to small, adding depth by overlapping edges and using a broad range of values. Give

it a try.

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Sumi-e and Chinese Painting

Moira Hulley sent us an article explaining Sumi-e and Chinese painting as used in

her recent works displayed at the Merit exhibition.

In my painting of a blue orchid on black paper

I used the Sumi-e and Chinese painting

technique. Using the principal of a loaded

brush I started using pressure on the stems

and leaves. The feel of force produced on the

leaves is created from the movement of the

tip of the brush and represents growth. The

flowers were painted with blue watercolour

and white poster paint.

I paint with liquid paint mixed with poster

paint – called gouash in the old days (not the

same as the ready mixed gouache). Blue ink

is popular in Japan. Chinese painters and

calligraphers are very fond of brown ink.

Although popular with modern learners liquid

pigment particles are larger than those made

with an ink stone. They are less reflective and

appear truly black. Which some, such as

myself, prefer. I also use Chinese white with

watercolours.

For the painting of the pink peonies I soaked

the brush in the chosen colour. Here I used

pink and then outlined the petals in shades of

white which gave the separation of the petals

and created a three dimensional effect.

Brushes are held upright for flowers and you

alter the pressure with your wrist to change

to three dimensional forms. To make your

painting graceful – or even dancing – we use

two or three different colours on one brush,

unlike Western painting. Modern Sumi-e

painters are often influenced by western

work, as my work is, sharing a studio with my

husband, premier watercolour artist Wallace

Hulley.

Painting and calligraphy brushes made in the

Orient come in different shapes, lengths and

types of hair e.g. goat, rabbit, sheep, horse

etc. The brushes made of the softer hair are

harder to handle. Stiffer brushes allow you to

create shapes ranging all the way from a thin

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line to a broad stroke. We were

recommended to start our learning with a

Chinese brush.

My flower paintings are done mostly in the

Chinese Chow Chian Chin etc. style which has

freedom, simplicity and interesting

composition. These flowers are sometimes

overdone by too many blossoms. I am often

watched by Wallace and he tells me “If you

don’t know what to do with your brush, PUT

IT DOWN. Invaluable advice to all types of

painting.

Chinese painting is depicted in symbols and

Japanese more influenced by subjective

feeling. On the other hand artists are fee to

employ and create something that becomes

totally their own.

All in all painting is therapeutic and joyful – to

be spontaneous and give pleasure is

delightful – so we keep doing it.

(adapted from the original script by Moira)

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What’s on: your local gallery guide Imibala Fine Art Gallery 06 Feb – 01 March ‘People & Places’ in association with Everard Read, Cape Town Ricky Dyaloyi, Vusi Khumalo and Velaphi Mzimbz 16 Bright Street Somerset West / 021 852 2411 www.facebook.com/Imibalafineartgallery

Johans Borman Fine Art - 08 Feb - 09 Feb 50th SAADA Antiques Fair: Exhibiting a selection of SA Masters and leading contemporary artists. 16 Kildare Road, Newlands, Cape Town /021 683 6863 www.johansborman.co.za

UCT Irma Stern Museum - 11 Feb - 15 March Stanley Hermans: Recent work. Themes of transition, transformation and restructuring are the outcome of attempts at self-expression that might lead to results of conviction, originality and purpose. Cecil Road, Rosebank, Cape Town / 021 685 5686 www.irmastern.co.za/exhibitions.htm

Rose Korber Art ROSE KORBER'S SUMMER SHOW: Until 15 March A comprehensive annual overview of the current state of contemporary South African art - paintings, original prints, photograph and Shangaan beadwork. 48 Sedgemoor Road, Camps Bay / 27 (0)21 4389152 www.rosekorberart.com

Salon 91 - Until 22 Feb Away - A Solo Exhibition of Recent Works by Sarah Pratt 91 Kloof Street , Gardens, Cape Town/ +27 21 424 6930 www.salon91.co.za

Stephan Welz & Co. Cape Town - 19 - 23 February 2014 Decorative & Fine Art Auction Viewing 25 February 2014 - Decorative & Fine Art Auction www.stephanwelzandco.co.za