ARTWORKS IN PAPER/PAPERWORKS IN ART

December 8, 1993

A large group exhibition of paper sculpture from “the newly introduced papermaking programme at Technikon Natal”, featured paper works that were produced with an approach that was essentially experimental. As was evident from the variety of works on display, students were not limited to papermaking, but rather experimented with this ‘new’ medium to create sculptural works. Most of the art produced were objects or conceptual statements using paper as the material.
In one piece, for example, Walker Paterson interpreted the ‘paper theme’ through the use of a ‘readymade’. Paterson exhibited a found ‘paper’ object - a 5 litre cardboard wine-box - in a rather tongue-in-cheek work that made reference both to the spirit of the FLAT openings and a play on words. An inside joke for papermakers; in papermaking terminology, a thick sheet is referred to as ‘wine box cardboard.’ It was an ‘art object’ which required and indeed received much audience participation! In recent correspondence with Paterson we discussed the exhibition:

Allen:               Could you talk about your motives for making the “Wine Box” for this exhibition?
Paterson:        a) The Wine Box piece allowed people to come together over a glass of wine and discuss ideas. b) The piece was made of paper, which qualified it for the exhibition. c) When one makes a thick sheet of paper it is referred to as ‘wine box cardboard’ [in the papermaking process]. And d) It saved me from buying wine for the opening of the exhibition, the only reason why people would attend in the first place.
Allen:               What is important about this ‘conceptual’ work when compared with the other ‘made’ work on this show, with specific reference to the papermaking department?
Paterson:       The “Wine Box” was not about labour intensive work which paper-making is. I felt there was a lot of work on the show that spoke about labour intensive work and I did not want to add to it. That is why the two accompaning pieces remained in their raw state.[1]

Others artists who participated in the exhibition included Laura Faranacci, Suzanne Bothma‑Hale, Christel Van Vollenhoven, George Holloway and Sam Cross. The image used for the poster of the exhibition showed Bothma-Hale’s sculpture made with wattle and paper.

This show also marked the first time that the FLAT received art press from a Durban newspaper, and a prominent Durban artist and lecturer at the Technikon, John Roome, was invited to open an exhibition. The column by Marianne Meijer, which appeared in the Tonight section, of The Daily News read:

An exhibition of new paper work will go on show at the FLAT Gallery on Wednesday next week, at 6pm. The exhibition, which marks the fusion between the newly‑introduced papermaking programme at Technikon Natal and the rising alternative art culture at the recently opened FLAT Gallery, will officially be opened by the only award winner at the Natal Arts Trust Biennale, John Roome. The FLAT Gallery, 4 Manor Court, Mansfield Road, is a non‑profit, non‑commercial exhibition space, where the prime aim is to promote a vibrant interaction among creative people. It is available for any innovative art event.[1]

This modest blurb was important in that the aims of the FLAT were here recorded in print with the public acknowledgement of the FLAT’s goal: “to promote a vibrant interaction among creative people,” and the declaration that “it is available for any innovative art event.” For us this was milestone as it articulated in a public forum our policy of allowing anyone to do anything in the space. Moreover, in Durban, the primary source of art information released in the newspapers was at that time originating almost exclusively from the Durban Art Gallery and the NSA. As these were the two powerful, stalwart organisations, it was significant to us that we too were able to get press attention. It not only announced to the general public the fact that we existed, but also legitimized the FLAT for those with suspicions that our project was not just another elaborate student party. This recognition of our seriousness also affirmed the existence of the gallery for us.
In the months to come Marianne Meijer continued to support our efforts, consistently covering the FLAT gallery in her weekly column and coming to many of the exhibitions. Ironically, Meijer was considered by many of the younger Durban artists to be part of the ‘establishment’ and yet she was the first to support us in such early days.
In that same conversation with Paterson, we discussed the significance of Durban’s first papermaking exhibition and the press coverage it received:

Siemon:           What do you think the significance is of John Roome opening this exhibition (in
terms of legitimizing the gallery in the eyes of the ‘art public’ and/or the more ‘established’
artists)?
Walker:           I found it quite surprising that John agreed to open the exhibition. I do however have my suspicions that John was more interested in legitimizing the use of paper as a fine art medium rather than a craft orientated one. It did however as you stated have the desired effect, it was published in Marianne’s [Meijer] column.
Siemon:           Could you comment on the importance of this show to the newly formed papermaking department (this was its first year as a department with students) and to FLAT.
Walker:           Both were relatively new additions to the Durban scene. It was also the first ever paper-making exhibition to be held in Durban.[2]