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(Un)Earthed: Curator Q&A - Marijke van Velden

The Stellenbosch Outdoor Sculpture Trust had the privilege of speaking with Marijke van Velden, the Chief Curator of the Un(Earthed) exhibition, held from May 2024 - May 2025 at the Voorgelegen Museum.

Eight artists have been carefully selected to present their ceramic works. These ceramics have been photographed and displayed across Stellenbosch, and the curator shared the following insights:

 

What inspired your decision to focus on ceramics for this exhibition, and how do you see the medium reflecting South African identities?
Ceramic art is becoming a new kid on the block in the world of contemporary art. Gallery goers are gradually expanding their expectations of what ceramics entail, to move beyond simply utilitarian domestic items such as plates, vases, or bowls. We wanted to tap into this current interest and exploration. Indeed, a medium as malleable as clay allows for limitless cultural expression. Just think of the bold and celebratory ethnic statements that are the works of Zizipho Poswa or Andile Dyalvane (to name but two) or the cultural traction created by the collaboration between Klein Karoo Potter, Hylton Nel, and Dior fashion earlier this year.

Your curatorial statement explores the fragility and symbolism of ceramics. Could you elaborate on the parallels you see between the medium and South African history? 
Fragments of ceramic objects from centuries past have been found on almost every continent of this world. On a conceptual level, these clay objects become a rather visceral link between raw earth and human culture; taking on forms that represent a whole range of identities, whether ritualistic, utilitarian, or decorative. Being the heterogeneous nation we are, it is no surprise that many of the objects that have been exhumed in this country trace back to the various tribes, clans and peoples that make our diverse nation. The simultaneously durable but brittle nature of ceramics is itself a symbolic characteristic. Despite, of course, the tenacious character of our people, we are all too aware of how easily our expressions of cultural identities can be both offended or offensive, depending on the contexts in which we find ourselves.

As an artist and educator, how has your experience in both fields shaped your approach to curating this exhibition? 
As an artist, I have a particular interest in materiality, and in this respect, clay is a curious medium for the current era. Can this renewed interest in clay as a medium be traced to an intrinsic need for sensory exploration? Is it a response to our increasingly digitized and virtual existence? These are questions that have surfaced for me throughout the curatorial process. A gallery, like a book, or a classroom, ideally is a space in which one is introduced to (new) ideas. For me, one of the most important aspects of curating is to raise curiousity and encourage critical thinking. However, in our country, a small minority of people might consider a contemporary art gallery as an inviting or comfortable space. For me, one of the most important aspects of curating is to raise curiosity and encourage critical thinking. By placing eight large-scale images on the streets of Stellenbosch, which show close-up details of the ceramic pieces featured, we hope to motivate people to visit the indoor exhibition and to view the selection of works in person.


Having served as inaugural curator at Oude Leeskamer, how did it prepare you for this (Un)Earthed? 
I like to think of any curatorial experience as a means of remaining “curation-fit.” Curating consists, essentially, of a hell of a lot of decision-making and systematic structuring. In this sense, having been part of the birthing of a creative initiative was both a special privilege and, at times, a stretching challenge. It afforded me much exposure, networking opportunities, and an understanding of the working of timelines. Ultimately, each curatorial project holds unique challenges that require its own creative problem-solving.

Could you share a bit more about the Sasol New Signatures award you won in 2009 and how it has influenced your trajectory in the arts? 
The Sasol New Signatures Award was a massive surprise to me. I had created a playful, jigsawed colour-by-number work based on a painting by Pierneef. Looking back, the experience of receiving such a prestigious award was my first real introduction to the important (and at times tough-to-navigate) relationship between the worlds of corporate business and contemporary art. It raised my awareness of opportunities and a realization of the importance of such partnerships, especially in a developing country like ours. On a more personal level, though, the win also heralded for me a rather lengthy period of creative block. I consider the experience valuable, nonetheless, in better understanding the volatility that creative processes often endure.

This exhibition features a range of themes from the traditional to the playful. Which pieces or themes resonated with you the most, and why? 
Gosh, how to single out! Almost all eight works resonate with me. I guess Wim Botha’s work, ‘Untitled’ (2024), as well as Githan Goopoo’s “Keep in Touch” (2022) have kept revisiting me the most. Both these works portray an element of subversion of tradition. I remember, as an art student, once visiting the parliamentary archives in Cape Town. In one of the rooms, we were greeted with a host of plastic sheet-covered plinths. When one plastic sheet was lifted, it revealed a bronze bust of a former head of state. The experience was uncanny, like a mortuary for rather-to-be-forgotten politicians. Wim’s work, at first glance, brought this memory to mind: A faceless, nameless clay head, seemingly still under construction, yet neatly supported on a formal wooden foot piece. Reference is made to 'kintsugi', the ancient Japanese method of mending broken porcelain using gold, yet in this work, these “arteries” are formed using the colloquial “mieliepap” instead, which has become iconic of Botha’s work. Githan Coopoo’s work is a burst of fluorescent colour in otherwise earthly-toned company. This (rather tiny) piece takes the shape of a traditional ceramic urn, except the plastic-like green surface yields a written request across its façade: “Keep in touch.” Suggestive of a post-it note left on the breakfast table, rather than a vase in a display cabinet, the work speaks in a tone of sarcasm. I can’t help but wonder if this is a trophy for a game which has already been lost.

What was it like working with Pule on this project? How did your roles complement each other in bringing the exhibition to life? 
Working with Pule has been nothing less than a joy and privilege. Since having a ‘sounding board’ plays a constructive role in putting up a show such as this, Pule’s goal-oriented, decisive and pragmatic approach to the creative process was a great support to me. His experiential knowledge of working with clay as a medium was very valuable also.


In (Un)Earthed, van Velden has successfully brought together a range of voices, themes, and artistic expressions that explore the depth and resonance of ceramics as a medium. This exhibition stands as a testament to the potential of clay, not only as a tactile medium but as a cultural touchstone, capable of conveying South Africa’s diverse, complex identities.


(Un)Earthed: Featured Artists

The exhibition showcases the exceptional talents of:

  • Madoda Fani: Known for his artisanal craftsmanship, Madoda's piece, Inguqu I (Change), embodies organic shapes reminiscent of traditional African vessels, adorned with meticulous decorative indentations that mimic woven textures.

  • Lucinda Mudge: Her work, All is Well, references traditional ceramic forms and delftware patterns, reimagined with modern, playful narratives that speak with a tongue-in-cheek tone.

  • Wim Botha: Botha's untitled piece presents a faceless figure, simultaneously mended and under construction, referencing the Japanese method of kintsugi, yet utilizing colloquial materials like mieliepap, evoking thoughts of a "tomb of the forgotten politician."

  • Githan Coopoo: His work, Keep in Touch, challenges conventional ceramic art by incorporating annotated clay vessels that explore themes of communication and human connection.

  • Marijke van Velden: Van Velden's installation, Home Unmapped, utilizes found ceramic shards to create a narrative that speaks to the fragmentation and reconstruction of identity and memory.

  • Ben Orkin: Orkin's innovative approach to ceramics blends traditional techniques with contemporary themes, creating pieces that challenge perceptions and invite introspection.

  • Ceramic Matters: This collaborative duo brings a unique perspective to the exhibition, merging functional design with artistic expression to explore the boundaries of ceramic art.

  • Marlene Steyn: Steyn's whimsical and surreal ceramic sculptures delve into the complexities of the human psyche, weaving narratives that are both personal and universal.



Visit the (Un)Earthed: Exhibition

(Un)Earthed is open to the public until May 2025 at Stellenbosch Museum Voorgelegen, Dorp Street, Stellenbosch Central, South Africa and photographic installations of the ceramics have been thoughtfully installed within the streets of Stellenbosch. For more information on the exhibition sites and featured artists, please visit the official Stellenbosch Triennale website.


Join us in celebrating the rich tapestry of South African ceramics and the artists who bring these narratives to life.


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