RESIDENCY AT BAG FACTORY STUDIOS, FORDSBURG, JOHANNESBURG, SOUTH AFRICA FROM JAN 19th- 6th APR 2012

RESIDENCY AT BAG FACTORY STUDIOS, FORDSBURG, JOHANNESBURG, SOUTH AFRICA FROM JAN  19th- 6th APR 2012

S A S : An exhibition by visiting artists

The residency had five artist which included Victoria Udondian from Nigeria, Mark Thomann from Germany, Kate Tarratt Cross from Cape Town, Fiona Flynn from the UK, and Jarrett Erasmus, our 3rd David Koloane Award Winner from KraaiFontein. At 5:30 on the evening of Thursday 29 March the Bag Factory Artists Studios opened a one week-long exhibition of the work of this five visiting artists –
 These dynamic individuals have been part of the Bag Factory’s Visiting Artists Programme, and over the period of the past three months have been preparing work, networking and running workshops around Johannesburg. The show, entitled S A S (Secret Art Service) is the end result.

During this period, the major work I created was the Amufu fabric, other smaller pieces were 2D mixed media works which resulted from the amufu piece.

Amafu Fabric - 1878
Installation, mixed textiles, paper, fabric paint, thread,
Variable (about 548cm X 336cm X 270cm )
2012

Amafu Fabric installation showcases a large piece of ‘textile’ which is a testimony of a possible history, in which the textile patterns recognized and codified in the African fabric are revisited by being mixed and hybridized through the use of re purposed pieces of textiles and scrap sourced from tailors and garbage. The decision to create a fabric, inspired by techniques and workmanship of fabrics in the different African countries, prompted by the search for a creative response to the excessive standardization of contemporary fabrics and the historical and symbolic image associated with it.

About Amufu fabric

Amafu textile was such an important fabric because it was the first hand printed fabric in South Africa before European textile manufacturers developed a block and discharge printing style on indigo cotton fabric during the 18th - 19th centuries and much of this cloth entered the South African market.

Amafu fabric was first printed between the 17^th - 18^th century by Nomsa Buthelizi who was a traditional quilter and designer. Her important Amufu fabrics were typically used in South Africa for traditional ceremonies in rural areas, ensuring a constant demand for Amafu. In certain cases, special designs were produced for important occasions such as royal birthdays and national festivals, all designs being ©Nomsa Buthelizi.

Glenda Kirkiridis, daughter of Nomsa grew up with her mother learning this trade at her early ages, at some stage she left her mum and went to continue her education.Later on in life, Glenda Kirkiridis took into quilting, she was unable to find the colour range and matching hues to fit a quilt for a competition and in frustration, In the mid 1990’s decided to dye her own fabrics. This was a lot of hard work, but she got the result she needed when she implored her mother’s technique to create again Amafu fabric. A number of quilters then asked if she would dye certain colours for them. Glenda began expanding her repertoire and the rest is history.

Today this fabric has become fashionable beyond its traditional usage and praise must go to young South African designers for their renewed interest in this traditional national heritage.

The Magie Relph Collection is the result of the long-term commitment which documents the passionate and continued interest she had in Africa and its textile even till date.
Magie Relph Collection
Magie Relph’s passion for Africa and its textiles began decades ago while she was working and travelling across Africa as a cook for an overland safari company.
She has a large collection of textiles and quilts from Africa dating back to 18^th century textiles till present day African prints. She said ‘When I first went to Africa, everywhere I went I found colourful, irresistible fabrics on display in the local markets. It wasn't long before I was collecting fabrics, country by country, as I crossed Africa. I even negotiated scraps from local tailors, much to their amusement. To keep myself busy on the road, I hand-pieced my first quilt using only African fabrics. I called it African Calliope and it was featured in Ontario Craft magazine in 1990.’
Of all of Maggie’s collection from Africa, the South African Amafu fabric which she collected from Durban is most significant. This was the earliest of Nomsa Buthelizi pieces hand dyed and hand screened in South African sunlight. It is also the largest piece Nomsa ever created dating back to 1878.
Even such a short biographical outline easily explains how Magie Relph’s is a name that should be recognized for preserving Africa’s history. Today, as she continues travelling in Africa, she is still learning and discovering new fabrics and African textile traditions. And it is again thanks to the foresight of Magie Relph that we can now see this masterpiece of historical Africans textile.

 

Ukara EKpe’ cloth 1

Mixed fabrics, fabric paint, acrylic on canvas, 89cm X 61cm

2012

Ukara EKpe’ cloth2

Mixed fabrics, fabric paint, acrylic on canvas, 76cm X 40cm

2012

Untitiled

Threads, acrylic on canvas, 74cm X40cm

2012

Untitled

Threads, acrylic on canvas, 76cm X 50cm

2012

It was a great experience working at bag factory studios.