Articles in the Creative techniques Category
Creative techniques, Featured, Margaret Trowell School of Industrial and Fine Arts, Visual Art »
This paper presents the practical processes of remodeling and using a kiln in the Ceramics studio at the Margaret Trowell School of Industrial and Fine arts, Makerere University in Kampala, Uganda. The effectiveness of a kiln is dependent on its design, ability to preserve heat by minimizing heat loss, and the capacity to be economical with fuel. The kiln in the ceramics department used waste oil for firing. During my postgraduate studies spanning 5 years in Japan, I studied and worked with wood kilns – building them and firing in them. Upon returning to Uganda in 2015 with this experience, I was able to identify some of the problems associated with Makerere Art School’s waste oil fired kiln and its hardships.
“Art does not solve problems, but makes us aware of their existence,” sculptor Magdalena Abakanowicz has once said. Arts education, on the other hand, does solve problems. Society needs people with skills to think creatively, innovate and to become critical thinkers and learners ready to solve everyday challenges. It is this understanding that has inspired Afriart Gallery to add an Art Education department to their existing scope of work.
Creative techniques, Featured, Review, Visual Art »
The Exhibition titled Bags that opened recently at Afriart gallery in Kampala is a continuation of the innovation, participation and interaction. The artist showcases bags in both small and big sizes with artworks emblazoned on their faces. Some of the images are abstract while others are semi-abstract with human figures and familiar motifs like the pair of fish wedged on canvas, the miniature human face parallel to the miniature standing human figure and the now popular KLA motif.
On the weekend of June 14-15, two contrasting cultures came together under the umbrella of art to celebrate the life and times of Scottish explorer and missionary Alexander MacKay, who devoted his life to journeying through Uganda. Ugandan artists Sanaa Gateja, Xenson, and art curator Violet Nantume joined forces with Deveron Arts in Rhynie, Scotland, for a two-day event filled with creative activities centred on cultural integration.
On rare occasions in Uganda, an artist dares to challenge familiar representations of beauty. But, what happens when we display tragic, often horrific, experiences? What happens when human interpretation cannot be purchased? How does a curator work with artists and researchers to display the ugly side of the nation’s history? This article seeks to examine — from a curatorial point of view — the key issues that arise when we use exhibitions as spaces to expose an often forgotten war.
Creative techniques, Film, Issue 033 Jun '13 »
This article could be used as a manifesto for the artist, or the filmmaker. It’s core objects are to stress the otiose pursuit for top gear equipment in filmmaking, and to reject the academia and long formal educations when it comes to creativity. This text is also a call to all artists out there, no matter the artistic area, to get together and start sharing ideas, discussing projects and team up.
“However beautiful Ugandan craft products may be, it will be difficult for local artisans to succeed in a global market unless certain conditions can be met. … In my opinion, tight deadlines, consistent quality, innovation, committed partners, and good communication are fundamental to successful participation in global trade, over and above the products themselves.” Kirsten Scott writes about international craft collaborations.
In the world of arts and culture nowadays, the term ‘heritage’ seems to be everywhere. Every country has its National Heritage, Tourist Guides are advertising World Heritage, and so on. If someone referrs to ‘heritage’, is it about preserving traditional knowlegde or is it about making money? What is this ‘heritage’ all about? Does an artist inherit something? Or a people?
Next out in the category the Story Behind an Artwork, we have interviewed one of the leading contemporary Ugandan artists, Joseph Ntsensibe, about his work ‘Disappearing Forests’ (2011). Read about why and how Ntensibe created this one piece of art which responds to the topic ‘environmental protection’.
In this new category of articles, Startjournal.org will present the Story Behind an Artwork. We will be interviewing leading East African visual artists about one particular work of art, trying to explain their reasons for and struggles with creating that one piece of art. First out is the Ugandan watercolor master Taga Francis Nuwagaba and his recent painting ’Changing Kampala’ (watercolor on paper, 2011) .
Curation can be described as the sorting and presentation of work/art for presentation to an audience. Its role is pivotal to the reception of work from the artist or gallery to the target audience, and it plays a major role in the success or failure of selling work. Photographer Roshan Karmali gives you some key ideas if you want to curate your own artwork.
In Startjournal.org’s series of Creative Techniques, artist and lecturer Lilian Nabulime shows you step-by-step how to carve a wood relief so you can create a wooden 2D-sculpture. Wood relief carving has been an art form since ancient times. In relief carving, figures or objects are carved into a flat piece of wood. The general process for relief carving involves removing wood so that the carved object appears to rise out of the wood itself.
Henry Mzili Mujunga shows you, step-by-step, how to do Woodcut Printmaking using a Dark-to-Light Technique. Woodcut prints are usually strong, simple designs in monochrome or in just a few colors. Because of this, woodcuts have the advantage of being easy to reproduce, which made them a popular form of illustration before modern printing methods. Click here to learn how to print dark-to-light.