Forensic Theater: Male Hysteria - Conrad Botes

Conrad Botes work reminds one the work of Andy Warhol. Bright and colourful cartoon figures. In Forensic Theatre: Male Hysteria Botes uses just four images (two of males and two of females) but change them around with four to six variations. Browns, reds and oranges are the dominating colours of the artwork.

Hillary Toffoli makes the statement to say that this art piece has offended quite a few people. And on deeper inspection of the piece one tends to realise why this work of art can be considered offensive. In one image a masculine man is seen shirtless, red faced and grinding his teeth, clasping a female in each hand above his head. In one of these variations the male is in read and beads of paint are running of him reminding one of blood dripping of a murderer’s hands. Another image the male is a naked caveman with a whip. A skull and cross bones watermark is printed over the image – a sign of death.

On some of the female images we see woman being assaulted, molested and even rape is portrayed. In one image a female is represented ancient, crying, naked and holding her left breast. Again in one of the variations her breast is red and a bead of paint is running over her hand. And then, perhaps most shocking is one of the females on the right, in the centre looking down and a print of the ancient female is over her face, in red, legs spread wide apart.

One cannot help but have a deep emotional occurrence when looking at this artwork. Rage, anger, hurt, loss of self-control. These are the emotions either experienced or depicted in Forensic Theatre: Male Hysteria. Aptly named or not? With all these hysterical emotions, how other than appositely named?

Prison Hacks - Willem Boshoff

Prison Hacks is a series of etchings on granite over eight slabs to record the number of days the prisoners of the Rivonia trial of June 1964 spent in prison. Each granite slab is 1300cm x 1200cm and is filled with groups of six vertical lines with a diagonal line through to mark the passing of a week. These signs are usually done by prisoners in a private place to mark down their time spent in prison. The slabs are dedicated to: Nelson Mandela; Ahmed Kathrada; Walter Sisulu; Raymond Mhlaba; Elias Motsoaledi; Andrew Mlangeni; Gove Mbeki and Dennis Goldberg.

Willem Boshoff says he was fond of the title Prison Hacks; as a hack describes the term for a person hired to do dull routine work, but it also refers to a score drawn through something. Boshoff initially called the series Prison Hacks when he only had funds to make three panels. Once he received funding to make all 8 panels he altered the title of the work to Prison Sentences. The word ‘sentence’ refers to the time a prisoner serves, but it also refers to a written grammatical construction. Starting with a capital letter and ending with a period, an ending. Boshoff says naming the work Prison Sentences alluded to the second meaning, idea that the sentence would end.

The work is etched on black granite because it is the material used to build memorials. A memorial to visually show everyone exactly how long the Rivonia trial members spent in jail. But also, perhaps even more significant, is that it is the material used for grace stones. After all these men were sentenced for life. Granite is also a cold and hard material. Two elements these men were obviously confronted with daily as prisoners.

The granite is polished to a smooth and shiny finish and has a reflective surface. Done so in order for the viewer to see himself in the work. A time for inner reflection and reflection on what these men had to have gone through. A time to see yourself in the work is a time to place yourself in those situations. The reflection in the work reminds one of Michael Jackson’s lyrics where he says: “I’m starting with the man in the mirror...” Is it the person in the reflection staring back at you the reason these men were imprisoned? Is it the reflection that you should start with to change things. Wasn’t that exactly what these men did? Started with themselves to change things.

Seeing all these groups of lines indicating weeks, building up to months, years, it becomes striking just how long these men served their sentences. The groups of lines almost seem never ending. Prisoners speak of a neves, an extended period of prison sentence. The word neves spelled backwards spells seven. Seven year of prison is considered by inmates as a very long time. Prisoners say a time that feels never ending.

Where's Nikki? - Angela Buckland

Angela was nominated for the Daimler Chrysler Award for Creative Photography for her work of 'Where's Nikki?'. Angela, mother of a disabled child, Nikki, wanted to show the world what all parents of disabled children go through. She goes into their lives and exposes that which is not spoken about.

In Buckland’s photograph series, “Where’s Nikki”, we are taken on a journey through Buckland’s emotional responses to six families dealing with their disabled child. Buckland, mother herself of a disabled son, named the piece after him. Nikki has a tendency to run away.

The artwork consists of seven 4m long vertical panels (each panel just over a meter wide) spaced out over 11m. Each panel contains five square photographs and portray an emotion Buckland wants us to focus on: shock, grief & loss, rage, confusion, relief, acceptance and hope. The verticality of the prints is intended to stimulate the narrative potential in the images (McDougall, Swartz, & van der Merwe, 2006:29) rather than an entire picture as a whole.

But seeing the artwork for the first time, one’s eyes tend to jump around, scanning over everything, intensifying views, trying to take everything in. In that moment the eyes are functioning in the exact same way when searching for something, searching for Nikki perhaps? Only after focusing on one picture at a time is it noted that most of the photographs are blurred, smudge or of an object in motion, emphasizing the searching action.

These notions can also be viewed as the emotions that are gone through when searching for somebody who has gone lost. Due to the size of the images, the portraits are very prominent and can be quite intimidating, forcing one to deal with the emotions exposed.

Buckland cunningly portray seven different emotions experienced when dealing with a family of a disable child but still manages to articulate common experiences that are share with their different children (McDougall, et al. 2006:29).