The Stellenbosch Outdoor Sculpture Trust had the privilege of speaking with Pule Dlothi, the Assistant 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 Assistant Curator shared the following insights:
How did your background in sculpture inform your curatorial decisions for this exhibition?
My sculpture background helped me a lot in terms of understanding how to curate a body of work that can stand in a space and speak to the viewer. Being familiar with 3D work, helped me a lot in terms of placing the artworks in a position that speaks to one another.
Ceramics as a medium has ancient roots. How did you approach blending that historical significance with contemporary South African narratives in the works you selected?
Choosing which artist is perfect for the exhibition was a big challenge, but we had to bring artist that has a different approach in art. Artist that understands the historical significance of Ceramic Art. We blended Artist that work with traditional why of making Ceramic art with the modern style in order to create a historic and a modern feeling in the art space.
This is your first assistant curator role. What has surprised you most about the curatorial process, and what have you learned so far?
I was very passionate about this project, and I really wanted to make a success out of it. As an art student at Stellenbosch university, we are only exposed to the making of artwork but not the planing process of curating work, I have learned that art is not about the making of work but also the planning process of how to exhibit the art work in order to speak to the viewer.
As a sculptor yourself, how do you view the relationship between ceramics and sculpture? Do you see any crossover in the themes of this exhibition?
To be honest, I never thought Ceramic Art was art, I only knew this information 2 years ago. Sculpture and Ceramic art is very similar to each other because both are created in a similar manner, even though Ceramic work can only be exhibited in doors (gallery space) and sculpture can be indoors or outside.
You focus on the role of women, particularly mothers, in shaping men in Basotho culture. Are there any works in the exhibition that speak to this aspect of identity formation?
Madoda Fani's work speak a lot to me about womanhood, in some way I find his work very familiar to the clay pots my grandmother used to make in the villages when I was still a little boy, his work gives a feeling of motherhood and the fact that it is made traditionally, it connects me even more with my Basotho background.
What was it like collaborating with Marijke on this project? How did her vision and experience influence your role as assistant curator?
It was fantastic working with Marijke, she is someone I look up to, she was my art tutor when I was doing grade 12. I knew her trough the same organisation which is the SOST, the same organisation we are both working at. Working with her in this project was amazing, and she allowed me to bring my view on how we should curate the show and planning.
You teach at P.J. Olivier Art Centre. How does your experience as an educator shape the way you approach exhibitions and public engagement with art?
I rather see art as an opportunity to learn the untold stories. As an artist and art assistant teacher, art is not only something view for the sake of beauty, but something that has deeper meanings that can be impacted trough investigating the meaning behind the art work.
What do you believe the ceramic works in this exhibition convey about contemporary South African identity that other mediums might not?
It removes the ideological barriers between what is art and what isn't. Few years ago, comics art wasn't classified as art, but now it gained popularity in South Africa as an contemporary art.
Can you share a specific moment or piece from the exhibition that profoundly impacted you during the curation process?
Madoda Fani's work was the one work that I connected with deeply, simply because it reminded me of my grandmother.
Where do you see your curatorial practice going after this exhibition? Are there other themes or mediums you’re interested in exploring?
Personally I want to be an artist and this was my first project that I curated and I want to make art.
In (Un)Earthed, van Velden and Dlothi have 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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