I visited William Kentridge’s exhibition at the Royal Academy and this was my first encounter with the artists’ work. I found it inspiring the artist worked with a multitude of media spanning from etchings, drawings, collage, film, sculpture to tapestry, theatre, dance and many more that would tell a story and convey poignant messages.
His work encompassed many techniques, one being animation where he would transform his charcoal drawings by rubbing out or adding to them to create a storyline, with some use of sound effects. It was this art form where I found myself being immersed in the story and the atmosphere Kentridge had created. It was the expressive movement in his pen strokes that took me on a journey wanting to find out more of the story and be a part of the experience. It was as simple as a pen mark being followed across the page and transformed into a larger scene. There was a constant path in his work from one destination to another, and it all felt connected. It felt like I was observing, and being a part of, the whole process. This made me think of my portfolio, how I also want to convey a story and path from start to finish, and leave traces of my previous design work onto the next.
He almost uses palimpsest in his animations, layering evidence on top of evidence, to create story arcs and depth to historical or political events. It creates a sense of reality and realness to his work, and allowed me to really feel convinced by his drawings. Another recurring technique he uses are words and phrases in the animations that transition into a scene, therefore allowing the audience to focus on the keyword and message of his work and what he is trying to convey without needing to much explanation or additional context. It was clear and set the tone of the scene. These are the ideas I want to influence my portfolio work, with clear intentions and layered evidence to back up my work.
Kentridge erased and left behind traces of his previous drawings in his animations which felt like an echo of the story. It allowed myself to absorb the remnants of the past as the next part of the story was progressing. I noticed he projected his charcoal drawings onto the walls of the gallery which exemplified the artist leaving traces, scars and memories of his work for the viewers to absorb as they went around the gallery. It was all part of a journey to tell his story. I wish to use this in my work by projecting and extracting aspects of my design ideas and paste them beside my overall design so individual elements can have a focus point yet also convey the general intention I want to create.
The artist builds and outlines his story using words from newpapers, or circling evidence that strengthens his points such as his Landscape pieces where he highlights the terrain changes that have been made by European influences on South Africa. This technique could influence the way I present my interior design work and I may use this method to highlight my design ideas.
He also uses contrasting symbolism for example in “The Conversationist’s Ball” where he highlights the realities of South Africa under apartheid by drawing wild animals that represent government officials and embedding threat into the scene, juxtaposing with white South Africans enjoying their extravagant lifestyles in the same art work. This can relate to my interior design practice by designing spaces with a juxtaposition and contrast in design to accentuate the message I want to convey in my space. This could be using colour, shape or form.
In his tapestry and map works, I was intrigued with the layering again, and using red lines to cut through the map, as if Kentridge was mapping a trajectory for the viewer. I would like to use this imagery and technique for my site mapping and analysis as this is a very interesting visual to read and inviting. It would be a unique approach to looking at the site history and layering a site development.
His theatrical exhibit featuring puppets for “Waiting for the Sibyl” inspired me to think about my Project 4 Material Objects, especially with the puppets involving wood. The compilation of the raw material, with a colourful fabric, deemed the puppet to be exciting and dynamic. I wish to incorporate this into my sculpture with contrasting colour of green against the natural wood colour. It also made me ponder on the type connection and material wood I want to go for.
This sculpture I found in my opinion had a slight resemblance to a plant silhouette and inspired me to consider the form of leaves and plants and how it will direct a space in this manner. I possibly can play with this arrangement, and it made me think about the absence of boundaries of a space, vertically and horizontally. That a space does not have to be linear or at right angles or in straight lines.