mixedmedia Photography
DariusMarkNaidoo Catalogue
By
Fig1.DariusNaidoo.BeyondtheSurfaceKZNSAGalleryExhibition Photograph.2024
TABLEOFCONTENTS
TORNBETWEENTASKS(2024)
INTRODUCTION
Wecarrytheechoesofourforefathers,butin theshadowsofoursweat,weyearntocarveout ourownpaths.
Myworkdelvesintothecomplexitiesofdealing withintergenerationalmasculinity,exploring howidealsofwhatitmeansto“beaman”are inheritedthroughfamiliallines,oftenwithout question,andpasseddownfromonegeneration tothenext.Observinghowmyfatherand grandfatherpracticedmasculinityinadomestic space,Ibecameawareoftheweightof traditionalexpectationsonmentobethe masculine“handyman”inthehome.
Traditionalmasculinityinthiscontextrelatesto theexpectationsthatdefinemenasstrongand emotionallyrestrained,wherevalueistiedtothe abilitytoperformphysicallydemandingtasks. Strugglingtoconformtothemodelofmasculinity passeddowntome,Iwascompelledtoconfront thesepredefinedmasculinerolesthatemphasize manuallaborasameasureofworthand fulfillment.
Iusemixedmediaandphotographyasartistic mediatovisuallycaptureanddocumentthe tensionandpressureIfeelwhencontestingthese “hardman”qualitiesthatIamexpectedto embody. Throughoutmycreativeendeavor,Iconfrontthe notionofintergenerationalmasculinityand questionwhetherinheritedmasculinitiestruly servemenintheirsearchforgenderidentityand self-fulfillment.
Fig3.NiamhWalsh-Vorster.BeyondtheSurfaceUNISA Photos.2024
BACKGROUND
ToolsandTethers:Confronting IntergenerationalMasculinity
TheexhibitionToolsandTethers:Confronting IntergenerationalMasculinity(2024)isa photographicandmixed-mediaproject exploringhowmasculinityisinheritedfrom previousgenerations.Itcreatesavisual conversationusingworkmantools, emblematicofthe"hardman"standardsand tethersthatserveasrestrictiveand connectiveforcesobservedinthe intergenerationalprocessofadopting masculineidealsthroughfamiliallines. Muchlikeitsinherentnature,thedefinitionof 'masculinity'isfluidandvariesacrosscultures bothin-betweenandwithin(Vaillant2010:19). Masculinityisnotamonolithicconstruct basedonasinglesetoftraitsor characteristics.However,acrossgenerations, mediaandentertainmentindustrieshave beeninfluentialinperpetuatingtraditional prevailingideasaboutmasculinitythatvalue qualitiessuchasphysicalstrengthand assertivenesswithanunwaveringsenseof responsibilitytoprovideandprotect.Most mainstreamsuperheroesandotherMale
Hollywoodleadsadoptthosetraits.Inthesecases,the characterswhoarewrittenandproducedsendmessages totheaudienceaboutwhatitmeanstobeaman. Throughsocialization,menoftenseektoembodythese traditionalarchetypesofmasculinity(Gürkan2022:128).
Similarly,theconstructionindustrystimulatesthese traditionallymasculinetraits.Constructionworkersattest toabravadoculturewithintheworkplace,takingpridein toughnessandworkmanshipwhileperformingmanual labor(Hannaetal.2020:9).Thus,thesenseofbeing “macho”islinkedtomasculinity.Thisisproblematic becauseanyonewhofallsshortofthesestandardsis viewedaslessofaman,limitingmen’sfreedomof genderexpression.Myworkthoroughlyexpressesthe struggletofitintothismodelofmasculinity,focusingon theinterrelationshipsbetweenmeninmyfamilyand genderconstructionwithinthehome.
Myfatherandgrandfatherworkedtraditionallymasculine jobs.Myfatherwasapoliceofficer,andmygrandfather wasaconstructionworker.Boththesemen,whoshareda commonpassionformanuallabor,embodiedstrength, resilience,andaruggedphysicalitythatIfounddifficultto embracefully.Feelingpressuredyeteagertoprove myselftobeaman,Iconformedtobeingthehandyman aroundthehouse.However,seekingtheirapprovalleftme feelinguncomfortableandconfused,tryingdesperately tofulfilltheexpectationspasseddowntome. Thisisvisualizednotablyinmyphotographicartwork, Conformity2024(Fig4).
CONFORMITY (2024)
Photographicprintonfoam board,87.1cmx122cm
Conformity(2024)(Fig.4)isaself-portraitshotin myhomedepictingmystrugglestoconformto themodelofmasculinitypasseddowntomeby myfatherandgrandfather.Astudyrevealeda positivecorrelationbetweenfathersandsonsin thecontinuityofmasculinevaluesthathavebeen intergenerationallyproduced(Peralesetal., 2023:404).Beingconsideredasocialnormto adoptvaluesfrommyfather,myeffortsto embodytraitsofthetraditional"hardman"feltas ifitwereagainstmywill.Thisisvisuallyexpressed bycomposingmyselfasamarionettetethered intoafixedposition.Thisencapsulatesmy struggleswithforcingmyselftoembodya masculinitythatdidnotbelongtome.Wearinga pairofusedoverallsalsoshowshowIwasforced toputonthetraditionalmasculineidentity passeddowntomeasifitwereapairofhandme-downclothes.
Fig4.DariusNaidoo.Conformity.2024
TopRight,Fig6.NiamhWalsh-Vorster.Beyondthe SurfaceUNISAPhotos.2024 Left,Fig5.DariusNaidoo.Conformity.2024, photographedbyNiamhWalsh-Vorster
INFLUENTIALARTISTS
ArtistResearchandMethodolgy
Throughmyartisticresearch,Itookinspirationfrom AdiNes'photographicseriestitledSoldiers(1996).I amespeciallydrawntohowhesubvertstraditional masculinestereotypesprevailingwithintheIsraeli militarybystaginghissubjectsintentionallyto createacontemplativesceneimbuedwithasense ofmachismoandvulnerability.BothNes'sandmy workcreatevisualdialoguesbycomposingour subjectstochallengerigidmasculineideals, revealingthecomplexitiesofmasculinitybeyond thesurfacelevel.
KelliConnellisanothercontemporary photographer.Sheiswellknownforherseries DoubleLife(2011),whichexperimentswithdigital manipulationanddouble-rolephotography. AlthoughConnell'sworkdoesnotdirectlydealwith masculinity,herphotographydocumentslived experiencesinthecontextofgenderidentityand theconstructionofself.
AnabstractdescribesConell'screativeprocessas usingcomputertechnologiestocombine photographypiecesintoadigitalcomposite (Huang2012:70).
KelliConnellusesdigitalmanipulationasa techniquetocreateanentirelyfabricatedscenethat ismeanttoreflecttherealityofgenderidentity.
ThetechniqueinvolvesConnelltakingmultiple photographsusingacamerafixedontoatripod.The modelexperimentswithdifferentposesandthe picturesarethendigitallyeditedtocreatereal-life scenarios,creatingthedouble-roleeffect.This techniqueiscentraltomycreativeprocessinthe PhotographicseriesTornBetweenTasks(2024)(Fig 14).
Fig7.AdiNes.Untitled(from TheSoldiersseries).1996
Fig8.KelliConnell.Brickhaus Cafe.2002
TORNBETWEENTASKS(2024)
SetofFivePhotographicprintson foamboard,Dimensionsvariable
TornBetweenTasks(2024)(Fig14)isafive-set photographicseries.InspiredbyConnell'swork,I constructedphotographsthatechomypast interactionswithmyfatherandgrandfather.Given thecamera'sinherentqualityofdocumenting momentsintime,thesephotographscreateavisual dialoguethatjourneysthroughmylivedexperiences asayoungmangrowingupinahouseholdthat valuedtheabilitytoperformmanuallabor.By duplicatingmyselfusingthedoubleroletechnique, thedualitywithinmyselfishighlighted,reiterating themesofconformityandintroducingthemesof rebellion.IamtornbetweenwhatIwanttodoand whatmyfatherexpects.Ultimately,mydisconnection withmanuallaborpaintsapictureofa"blacksheep identity,"alienatingmyselfasIdon'tnaturallyalign withmyfather'smasculinity.Araünaetal.(2018:85) mention,"Masculinityisbothapersonalfeatureand amanifestationofsocialstructure."TornBetween Tasks(2024)considersthisinterplaybetweenmy personalinterestsandexpectationsimbuedinme throughsocializationandintergenerational reproduction.
Fig9.DariusNaidoo.TornBetweenTasksI.2024
Fig10.DariusNaidoo.TornBetween TasksII.2024
Fig11.DariusNaidoo.TornBetweenTasksIII. 2024
Fig12.DariusNaidoo.TornBetweenTasksIV.2024
Fig13.DariusNaidoo.TornBetweenTasksV.2024
Fig14.DariusNaidoo.TornBetweenTasksSeries.2024,DimensionsVariable,photographedby NiamhWalsh-Vorster
VISUALMETHODOLOGY
Forme,toolsaremorethanjustphysicalobjectsthatmy fatherandgrandfatherused;Theyserveasrelicsofthe inheritedunderstandingofwhatitmeansto"beaman,"a legacypasseddowntome.Thisvisualapproachstemsfrom mystruggletoembracemyfather'sversionofmasculinity fullyandnotbeingabletowieldthesetoolsproficiently.
Anotherrecurringthemeinmyartworksistheuseofbuilding twine,whichIoftentethertofixedpoints,reflectingthe connectionanddissonanceIexperienceconcerningmy patriarchsandtheirexpectationsofmanhood.Thetwineacts asarestrictiveforce,bindingmetorigidmasculinequalities thatultimatelyleavemefeelinglikeanoutcast.
Thesevisualmethodsarenotableinmyphotographicwork, RelicsofMyMasculinityII(2024)(Fig15).Inthisartwork,I createameticulouscompositionusingtoolsandtethered elements.Thisartworkusescabletiestocombinetools,such asahammer,wrench,andspanner.Indoingso,Istripeach toolofitsutilitarianfunction,makingthehybridizedtoolfeel awkwardandcumbersome.Tetheredtofixedpoints,the hybridizedtoolhangssuspensefullyintheair,symbolizingthe inheritedmasculineidealsIcannotgraspentirely.Justasthe toolbecomesuseless,sotoodoestheinheritedmodelof masculinitypasseddowntomefrommyfatherand grandfather.
Fig15.DariusNaidoo.RelicsofmyMasculinityII. 2024,photographedbyNiamhWalsh-Vorster
Fig17.DariusNaidoo.RelicsofMyMasculinityII.2024
Fig18.DariusNaidoo.RelicsofMyMasculinityIII.2024
TOOLSANDTETHERS(2024)
SetofThreePhotographicprintsonfoam board,45.3cmx63CM
Myexplorationofthethemeinmixedmediainvolved deployingsimilarworkingmethodstothoseusedin myphotographicwork.
ToolsandTethers(2024)(Fig19)combines photographyandmixedmedia.Portraitsofmyfather, grandfather,andmyselfwererigidlycutoutand collagedontoalargechipboard.Knownforits versatileuses,thechipboardcreatesasurfaceforthe artworkthatperfectlycapturestheexpectationof beingusefulinareasofmanuallabor.Subtle infirmitiescontributetothetactilesenseofroughness synonymouswithmenworkinginconstruction. Icreatethenotionofbeingtetheredintoafixed position,anchoredtopointsusingscrewsdrilledinto thechipboard.Bycreatinganoutlinetetheredaround eachfaceusingstring,Iexpressthefeelingofbeing forcedtoexistinanawkwardspace.The overwhelmingexpectationsofthetraditional“hard man”arevisualizedthroughthephysicaltoolsbeing mountedontothecomposition.Thesetoolshave beeninthefamilyforgenerations,symbolicofthe overarchingmasculineidealsconstantlyprevailing throughfamiliallines.
Thismixedmediaartworksummarizesmyfinal commentaryoncopingwiththeexpectations andthecomplexitiesofintergenerational masculinity.
Fig19.DariusNaidoo.ToolsandTethers.2024,photographedbyNiamhWalshVorster
CONCLUSION
TheexhibitionToolsandTethers:Confronting IntergenerationalMasculinity(2024)hasexploredthe complexitiesofinheritedmasculinity,examininghow rigidmasculineidealsarepasseddownandtheir effectonanindividual.Reflectingonmystrugglesto conformtomyfatherandgrandfather'smodelofthe traditional"hardman,"Iusedphotographyandmixed media,visualizedthroughaseriesofphotographic portraitsandcollagework,oftenreferencingtoolsand tethersasvisualnarrativedevices.
Increatingcomplexcompositions,Iencouragemento confrontthelimitationsplacedonthemthrough intergenerationalprocesses,callingthemtostepoutof theshadowsoftheirforefathers.
LISTOFILLUSTRATION
Fig4.DariusNaidoo.Conformity.2024.PhotographicPrintonFoamBoard,87.1cmx122cm
Fig7.AdiNes.Untitled(fromTheSoldiersseries).1996.ColorCouplerPrint,62.2x59.7cm
Fig8.KelliConnell.BrickhausCafe.2002.ChromogenicDyePrint,76.2x101.6cm
Fig9.DariusNaidoo.TornBetweenTasksI.2024.PhotographicPrintonFoamBoard,
Fig10.DariusNaidoo.TornBetweenTasksII.2024.PhotographicPrintonFoamBoard, 87.1cmx122cm
Fig11.DariusNaidoo.TornBetweenTasksIII.2024.PhotographicPrintonFoamBoard, 63cmx87.1cm
Fig12.DariusNaidoo.TornBetweenTasksIV.2024.PhotographicPrintonFoamBoard, 87.1cmx122cm
Fig13.DariusNaidoo.TornBetweenTasksV.2024.PhotographicPrintonFoamBoard, 63cmx87.1cm
Fig14.DariusNaidoo.TornBetweenTasksSeries.2024,DimensionsVariable, photographedbyNiamhWalsh-Vorster
Fig15.DariusNaidoo.RelicsofmyMasculinityII.2024,photographedbyNiamh Walsh-Vorster
Fig16.DariusNaidoo.RelicsofMyMasculinityI.2024.PhotographicPrintonFoamBoard, 45.3cmx63cm
Fig17.DariusNaidoo.RelicsofMyMasculinityII.2024.PhotographicPrintonFoamBoard, 45.3cmx63cm
Fig18.DariusNaidoo.RelicsofMyMasculinityIII.2024.PhotographicPrintonFoamBoard, 45.3cmx63cm
Fig19.DariusNaidoo.ToolsandTethers.2024,photographedbyNiamhWalsh-Vorster. PhotographicCollagewithFoundObjects,103.3cmx153.3cm
BIBLIOGRAPHY
AraünaBaró,Núria&Tortajada,Iolanda&Willem,Cilia.(2018).PortrayalsofCaringMasculinitiesinFictionFilm: TheMaleCaregiverinStillMine,IntouchablesandNebraska.Masculinities&SocialChange.7. 10.17583/mcs.2018.2749.
Availableat:
https://www.researchgate.net/publication/323393915 Portrayals of Caring Masculinities in Fiction Film Th
e _ Male _Caregiver_in_Still_Mine_Intouchables_and_Nebraska(accessedAugust2024)
Gürkan,A.2022.TheRepresentationofMasculinityinCinemaandonTelevision:AnAnalysisofFictionalMale Characters.EuropeanJournalofMultidisciplinaryStudiesJanuary–June2022,Volume7Issue1.ISSN2414-8385
Availableat:https://revistia.com/index.php/ejms/article/view/5844/5697(accessedAugust2024)
Hannaetal.2020.Masculinitiesintheconstructionindustry:Adouble‐edgedswordforhealthandwellbeing? Gender,Work&Organization.27.10.1111/gwao.12429.
Availableat:https://ora.ox.ac.uk/objects/uuid:b83cbca5-ef20-4b5e-99521f29bc55b618/files/rws859g285(accessedSeptember2024)
Huang,Y.-H.(2012).TheDigitalSublime:LessonsfromKelliConnell’sDoubleLife.TheJournalof AestheticEducation,46(4),70–79.
Availableat:https://doi.org/10.5406/jaesteduc.46.4.0070(accessedAugust2024)
Perales,F.,Kuskoff,E.,Flood,M.etal.2023.LikeFather,LikeSon:EmpiricalInsightsintotheIntergenerational ContinuityofMasculinityIdeology.SexRoles88,399–412.
Availableat:https://doi.org/10.1007/s11199-023-01364-y(accessedAugust2024)
Vaillant,G.2010."MIRRORMIRROR":AQUALITATIVEANALYSISOFINTERGENERATIONALIMAGESOFMASCULINITIESIN URUGUAY.Culture,SocietyandMasculinities;HarrimanVol.2,Iss.1,(Spring2010):19-41.
DOI:10.3149/CSM.0201.19
Availableat:https://www.proquest.com/openview/4ea0b0947ac9ad75bbcfab66e165de86/1?pqorigsite=gscholar&cbl=53089(accessedAugust2024)
ARTISTCV
Education
Matriculated2020.EffinghamSecondarySchool
2021-Current,partialcompletionofBAVisualMultimediaArtsatTheUniversityofSouth Africa(Unisa)
Exhibitions
UnisaArtsandMultimedia-StudentFinalExhibition-BeyondtheSurfacesatKwazulu NatalSocietyofArts(KZNSAGallery)
DARIUSMARK NAIDOO
Number
+27 81 384 1741
Email Address
@dariusnaidoo4@gmail.com
