Show simple item record

dc.contributor.advisorAllen-Spies, J.
dc.contributor.advisorHuman, E. S.
dc.contributor.authorHuman, Phyllis Marjorie
dc.date.accessioned2015-08-28T12:07:58Z
dc.date.available2015-08-28T12:07:58Z
dc.date.copyright2009-12
dc.date.issued2009-12
dc.date.submitted2009-12
dc.identifier.urihttp://hdl.handle.net/11660/1077
dc.description.abstractEnglish: This dissertation is an extension of my studio research. In my studio research I use the processes usually associated with the making of decorative patterns as an integral part of my work as a painter. In my paintings and in my dissertation those actions of pattern making that create an interplay between surfaces charming to the eye, and the menacing hidden meanings of degeneration, destruction and underlying aggression is investigated. This research focuses on the manifestation of the visual impact of decorative patterns on formal as well as the semantic levels. The meaning of patterns and motifs in patterns emerges and changes constantly as a result of formal creative making processes. These processes are influenced by cultural forces. Thus the transformations in patterns and pattern motifs point to the dynamic cultural forces in current South Africa. Decorative patterns from popular South African culture, in which pattern-creating processes are linked to the creative processes involved in recent visual art by contemporary artists, Beatriz Milhazes, Ghada Amer, Bronwen Findlay and Leora Farber as well as to my own paintings are analyzed. The research focuses on the ways in which patterns change and in which meanings are assigned to them. The importance of purposeful exchange of ideas in order to bring about transformations in patterns, is stressed. Writers such as Alois Riegl and William H. Goodyear have seen the exchanges of motifs and meaning in patterns as an organic and orderly pocess. In reality the meanings of pattern fluctuate and is constantly being transferred in a chaotic way. It is also fundamental that it should be considered within a specific social and cultural context as done by Alfred Gell. The ongoing and dynamic cultural influences will then become clear. This dissertation is structured in three sections, in which patterns and pattern motifs which are prominent and meaningful in the popular South African culture of the day are investigated. The ‘Victorian Rose pattern’, the Springbok motif and ‘Ndebele patterns’ are discussed. In each of these three sections meanings and transformations of meaning in pattern motifs are closely scrutinized. The ‘Victorian Rose pattern’ underwent numerous transformations in South African culture. Yet, the strong associations with its British origins still cling to it. The Springbok motif, which became part of South African heraldry during the British colonial period, on the contrary, has transformed into a symbol of Afrikaner nationalism. The underlying aggressiveness which developed to the motif led to its degeneration and later a come-back as a kitsch motif in current popular culture. In the case of the visually powerful Ndebele patterns, 87 the ethnic connotations they carried led these patterns to become artificial constructions subject to political manipulation and power struggle.en_ZA
dc.description.abstractAfrikaans:Hierdie verhandeling sluit aan by my ateljee navorsing waarin ek prosesse wat gewoonlik vir die maak van dekoratiewe patroon gebruik word, aanwend as integrale deel van my skilderproses. In my skilderye en hierdie verhandeling word die eienskap van patroonmaakprosesse om ‘n wisselwerking te skep tussen aangename betowerende oppervlaktes en minder aangename onderliggende betekenisse soos aftakeling, verganing en aggressie ‘n kernaspek wat ondersoek word. Die wyse waarop visuele krag manifesteer in dekoratiewe patrone op formele- en betekenisvlak word ondersoek. Die betekenis van patrone en die motiewe in patrone word gevorm en voordurend verander as gevolg van formele maakprosesse wat vervleg is met ander kulturele prosesse. Die transformasies in patrone en patroonmotiewe is beduidend van kulturele dinamika, in die hedendaagse Suid-Afrika. Dit word ondersoek aan die hand van patrone uit die Suid-Afrikaanse populêre kultuur. My hipotese is dat daar ‘n verband is tussen die patroonmaakprosesse van dekoratiewe patrone en die werk van resente skilders Beatriz Milhazes, Ghada Amer, Bronwen Findlay, Leora Farber en my eie skilderwerk. Die wyse waarop die verandering en oordrag van patroonmotiewe plaasvind, wat betekenisverandering in patrone moontlik maak word ondersoek. Daar word geargumenteer dat die doelbewuste uitruiling van idees betekenistransformasie in patroon teweeg kan bring. Die uitruiling van motiewe in patrone was in die verlede deur skrywers soos Alois Riegl en William H. Goodyear slegs beskou as organies en orderlik. Betekenisse in patroon en die uitruiling daarvan is in werklikheid fluktuerend en chaoties. Dit moet ook ondersoek word in spesifieke sosiale en kulturele kontekste. Sodoende kan dit soos in die navorsing van Alfred Gell, verstaan word as samehangend met strominge in die kulturele konteks. Hierdie verhandeling is gestruktureerd in drie afdelings wat handel oor patrone en patroonmotiewe wat prominent en betekenisvol is in die hedendaagse Suid-Afrikaanse populêre kultuur, nl. die Viktoriaanse Roospatroon, die Springbok motief en Ndebele patrone. In die drie afdelings word die betekenisse en betekenistransformasie wat in hierdie patrone en patroonmotiewe plaasvind deur middel van patroonmaakprosesse ontrafel. Dit word ondersoek aan die hand van patrone uit die resente Suid- Afrikaanse populêre kultuur, my eie skilderye en die resente werk van kunstenaars Beatriz Milhazes, Ghada Amer, Bronwen Findlay en Leora Farber. Daar kleef steeds sterk assosiasies van Britse Imperialisme en ‘Engelse Roos’ vroulikheid aan die Viktoriaanse Roospatroon in die Suid-Afrikaanse kulltuur, maar dit ondergaan bekragtigende transformasies in resente ontwerpe en kunswerke. In teenstelling hiermee verander die Springbok wat in die Britse koloniale tydperk deel van Suid-Afrikaanse heraldiek geword het in ‘n toonbeeld van Afrikaner nasionalisme. Die onderliggende aggressiwiteit wat dit ontwikkel lei tot die degenerasie van die simbool en die herwinning daarvan as ‘n kitsch patroonmotief in hedendaagse populêre kultuur. Die idees oor etnisiteit wat afgedruk is op visueel kragtige ‘Ndebele patrone’ het daarvan artifisiële konstruksies gemaak wat onderlê word deur magspel.af
dc.description.sponsorshipUniversiteit van die Vrystaaten_ZA
dc.description.sponsorshipNational Arts Councilen_ZA
dc.language.isoafaf
dc.publisherUniversity of the Free Stateen_ZA
dc.subjectPattern perceptionen_ZA
dc.subjectPainting, Modernen_ZA
dc.subjectArt -- Designen_ZA
dc.subjectDecoration and ornament -- Themes, motivesen_ZA
dc.subjectNdebele patternsen_ZA
dc.subjectVictorian Rose patternen_ZA
dc.subjectSouth African cultural motifsen_ZA
dc.subjectSpringbok motifen_ZA
dc.subjectDecorative patternsen_ZA
dc.subjectTransformation of patternen_ZA
dc.subjectRecent design stylesen_ZA
dc.subjectRecent paintingen_ZA
dc.subjectProcesses of pattern makingen_ZA
dc.subjectDissertation (M.A. (Fine Arts))--University of the Free State, 2009en_ZA
dc.titlePatroonmaakprosesse en die resente skilderkunsaf
dc.typeDissertationen_ZA
dc.rights.holderUniversity of the Free Stateen_ZA


Files in this item

Thumbnail

This item appears in the following Collection(s)

Show simple item record