An arresting two metre tall concrete sculpture, entitled “Gender relations”, by Bloemfontein artist and photographer Jano Myburgh (32) was one of the most eye catching of the 2016 Phatshoane Henney New Breed Art Competition’s top entries.
Meticulously thought through, it explores the volatile relationship between man and woman that’s fraught with passion, sexist behaviour, social faux pas and misguided social convention. “The need for sexual gratification, procreation, partnership and shared real-estate are the only tenuous links that perpetually bind us. Like the four steel rods in the sculpture, these four links are forever under the tension of continual interaction, but thankfully keep us bound,” Myburgh explains.
It is his belief that through centuries of oppression, women have fought and persevered to gain footing on equal ground, only to have this gradual shift spread across the last 130 years, combined with society’s reactive need to adapt to the shift, leaving both men and women in an internal crisis. “Now what is their role in the modern relationship? Where do they fit in the greater social construct?”
He goes on to reflect that, springing from its roots in male dominated history and articulated in the sculpture through repetition of the chevron, the universal symbol of a phallus used in military insignia, the remnants of sexist foundational standards instilled intentionally or unintentionally through upbringing, intertwined with redefined and more modern feminist ideals, have created an internal conflict - an insurmountable double standard. “This foundational implication in both men and women is further strengthened by the use of concrete as the main medium of the sculpture. This perception of ill-fitting incompatibility is illustrated by the male and female bodies within the sculpture that are incapable of fitting in their current state of being.”
From original conception of the idea to finalising what the work would look like took around two months. He recalls that the production phase for Gender Relations was particularly challenging as it was his first attempt at an artwork of its size. “I finally settled on a mixture of glass fibre reinforced concrete with silica sand, dolomite and small river stones. When the mould was complete the cement could be mixed and cast which was a two day affair. Once the cement had set it had to be kept wet and cured for 28 days until full strength was attained. After the cement was fully cured the sculpture could be placed upright for the first time and the final surface finishing and final sealant treatment could be applied.”
Having scaled down his commercial photographic practice somewhat to accommodate his other avenues of interest that include part-time lecturing, photographic fine art figure study work remains a great passion for him, he says, and he still produces works in that medium every year. His focus has however currently shifted to putting together what he’s calling “The Crass Kitsch collection” – to be a “whimsically naughty exploration of how sex has permeated modern culture and redefined what is considered taboo.”
“It will consist of three dimensional works in cement, bronze, wood and ceramics, some of which I in fact hope to enter in this year’s Phatshoane Henney New Breed Art Competition. Last year’s competition was such a great success and wonderful platform for us as artists that I cannot wait to see what it will hold for the art community this year.”
He acknowledges that as an emerging artist the competition has served as both affirmation that he is on the right track and as a platform to get his work out into the public eye. “I believe this will have incalculable long term value to my career, but only time will tell. Having been selected as a finalist and my work accepted into a collection such as this just fills me with appreciation for the opportunity to have participated,” Myburgh concludes.
Click here to visit his full profile and for more information on his competition entry.