I embarked on a deeply personal journey that intertwined my artistic practice with exploring the family legacy, connection to place, and the complexities of inheritance. This mixed-media painting, 108 cm wide by 88 cm high, was not just a canvas for my artistic expression but a reflection of my emotional and historical investigation into my family's past. I invite you to join me on this journey.
The initial choice of a vibrant red ground was not just significant; it was profound. Red, with its rich connotations, symbolises a deep-rooted connection to the earth and evokes a sense of warmth and vitality. This choice mirrored my desire to ground the painting in the land that holds my family's history. Incorporating found imagery from maps created a foundational layer connecting my work to specific geographical locations, places where my family has lived and struggled and which have become pivotal to my sense of belonging.
The earth and stones collected from the family farm added a tactile element to the piece, anchoring it in the physical landscape I sought to represent. These materials were a literal connection to the land and a historical metaphor. Each stone, each grain of earth, encapsulated memories and stories, reinforcing the narrative of my family's unfulfilled inheritance.
During my recent trip to South Africa, I delved into my family's history, uncovering my grandfather's aspirations for his children. His desire to leave a substantial inheritance was juxtaposed with the harsh realities of life, where properties were sold, and not all children received their share. This painful narrative, rooted in the struggles of our family's farm and the challenges of maintaining it, became the core of my painting. I divided the composition into six equal segments, each representing my grandfather's intention to provide for his six children. This division was a conscious effort to honour his legacy, even as it acknowledged the fractures in our family's story.
In my creative process, I employed site-based writing and journaling, which allowed me to reflect on my emotional responses to these discoveries. Conversations with family members added depth and nuance, offering different perspectives on our shared history. Painting emerged as the medium through which I could explore and express these complex themes.
Incorporating a poem in Afrikaans, my home language, into the hidden layers of the canvas was more than a creative choice, it was a personal touch. It invites members to engage with the work on a more intimate level. The golden leaf interwoven throughout the painting symbolises not only the minerals discovered on the farm but also the richness of the stories and legacies that have shaped our family. This element of gold represents hope and the potential for renewal, a reminder that even amidst loss, there can be beauty and growth.
The inspiration I drew from artists like Imans Tillers (Brook 1995) and William Kentridge was crucial in shaping my approach. Their exploration of history and memory through large-scale works resonated with my intentions. Kentridge's method of drawing and storytelling through movement (Elliott 2010) inspired me to think about how my body and the act of painting could convey the passage of time and the weight of memory.
One of the most significant challenges I faced was ensuring that the painting, once divided, would still hold meaning for each family member receiving a piece. This concern led me to contemplate the implications of fragmentation, such as how a singular story can be shared among many. Ultimately, I found that the strength of the work lies not in its unity but in its ability to resonate differently with each recipient, offering a unique interpretation of our shared legacy.
Reflecting on this journey, The Golden Line successfully captures the essence of my family's history and legacy. The excitement and eagerness expressed by my family members to receive their pieces affirm my intention and the emotional weight of this work. In navigating the intersection of art, memory, and inheritance, I have created a painting and woven together the threads of our family's narrative, inviting reflection and connection.
References
Brook, Donald. 1995. "Imants tillers and the redefinition of art in Australia." Art and Australia 54-59.
Elliott, Marrianne. 2010. "William Kentridge." The Arts 50-53.
Mixed Media on Canvas, Ready to hang
92cm (W) x 76cm (H) x 3.8cm
