Ephemeral Anemoi Rothea du Plessis by rotheaduplessis

Rothea du Plessis

Ephemeral Anemoi

UNISA art gallery

Ephemeral Anemoi

Exhibition Catalogue November 2023

Rothea du Plessis www. rotheaduplessis.com duplessisrothea@gmail.com

Contents Artist statement

Introduction

Artists researched

Research methodology

Installation

Photography

List of illustrations

Bibliography

Fig 4. Rothea du Plessis Ephemeral Anemoi Installation. Cement, clay, wax and steel. 3 x 5 x 4m 2023

Artists Statement Rothea du Plessis I often drive past an airfield with numerous windsocks, indicators of the natural conditions they face. Sometimes they are full of energy, other times they look weary, exhausted, and weathered. A scientific instrument and yet so fundamental. On occasion they dance in the wind, uplifting every passer by with their choreography. Yet at other times, they just await change or perhaps relish the pause. These vibrant and reactive windsocks inspired me to use them as a metaphor for the unpredictable and uncontrollable trauma experienced in life. Ephemeral Anemoi addresses the sensation of losing control when unexpected disruptions swiftly alter our path, plunging us into chaos. This concept resonates on both personal and global levels. We meticulously plan our life's trajectory, only to confront unforeseen events demanding a radical shift. My own journey mirrors this reality—I permanently relocated to the UK, but an unexpected turn redirected me to South Africa. Then the upheaval of the COVID-19 pandemic further shattered my plans. These terrifying and unplanned events disrupt our equilibrium, leaving us fractured whilst seeking a new stability, often losing parts of ourselves in the process. This defines the heart of Ephemeral Anemoi, where personal and global traumas create temporary chaos with either fleeting or lasting consequences. The installation is based on the same thought and inspired by art transformed by external forces. I used weathered windsocks to represent the transformative nature of human existence and responses to uncontrollable circumstances. The windsocks flap between suspended human figures, which are broken and falling apart. They are made from wax, wired mesh, cement, and steel. The water dam underneath reflects the figures swept off balance by events. ‘Emotions’ originates from the Latin word ‘emovere’ which means disturbance and movement, much like the ripples in the water. The figures embody the personal responses to trauma; they are torn, broken and stumbling. Each sculpture is different yet part of the collective. The photos of burning windsocks highlight the transient nature of trauma and life's fragility .Ephemeral Anemoi reflects the impact of unforeseen events, allowing engagement and acknowledging the fragility of existence. In doing so, it focuses on the shared human experience and the resilience of individuals facing life's transience and volatility.

Fig 4. Rothea du Plessis Ephemeral Anemoi Installation. Cement, clay, wax and steel. 3 x 5 x 4m 2023

Introduction

Ephemeral Anemoi is inspired by the dynamic nature of windsocks, serving as a metaphor for life's unpredictable and uncontrollable traumas. My personal life journey serves as the backdrop for this exploration of the chaos and fractured equilibrium brought by unexpected disruptions. Using weathered windsocks and broken human figures, the installation portrays the transformative responses to uncontrollable circumstances, emphasizing the transient nature of trauma and life. The wind created by fans around the installation blows the windsocks and creates ripples in the water below. The reflection of the drama above the water is a mirror of the development above. The installation is aimed at appearing simple and energetic but thought provoking when the viewer is invited to identify with the movements and appearances of the different windsocks and figures. Ephemeral - Lasting for only a short time; transitory; short-lived ([Collins Dictionary online). Anemoi - The winds in ancient Greek mythology, the Anemoi are storm wind gods associated with the four cardinal points; Boreas the North Wind; Notus the South Wind; Zephyrus the West Winds and Eurus the East Wind. (Encyclopedia of Greek and Roman 4 Mythology 2010:66).

John Divola

Artist research

Fig 7. John Divola, Zuma #4 (1977) John Divola (1949) is an American contemporary visual artist. He photographed an abandoned building on Zuma Beach in Malibu over a two-year period, from 1977 to 1978 (Witt 2018). He documented the transformation and destruction the building underwent. The building was actively altered by himself at times with found objects and graffiti, and the local fire brigade also used it for training purposes. It was vandalized at times (Winant 2014). At one point, a fire destroyed the building even more. The scorched scene of the neglected building was enhanced with new graffiti and photographed by Divola. The fire was a catalyst for change and altered the decaying scene even more. In Zuma #4 (1977), Divola addresses the passage of time and the inevitability of change (Winant 2014). It reminds viewers that all things, including structures, are subject to the effects of time and the elements. This concept prompts reflection on the temporality of life and our creations. The burnt images of the Zuma series inspired me to burn windsocks to symbolize the fragility, chaos, and transient nature of life..

Janet Echelman

Fig 8. Janet Echelman, She Changes (2005)

Janet Echelman (1966) specializes in monumental mesh sculptures that are site-specific. Her installations take the form of three-dimensional, multilayered, and voluminous structures that possess remarkable flexibility. They engage with the wind and their changing environment, causing them to transform continuously in shape (Echelman 2009). She Changes is located in Porto, Portugal; it is suspended above a three-lane highway, meticulously handwoven from Tenara fiber. This material, designed with custom knots into a net structure, is UV resistant, colorfast, and has a strength greater than steel. Originally named "She Changes Her Mind with the Wind," it was reduced to "She Changes" to capture the continuously changing form of the mesh and allow for broader interpretation (Morgan 2005). Echelman's soft sculptures, characterized by their flowing nature, served as inspiration for the creation of Ephemeral Anemoi. These windsocks also embody the interconnectedness of human life, reflecting our capacity to respond to a perpetually changing world."

Research Methodology The impact of international events has grown in the modern world due to the complex exchange between globalization, media, security, migration, and economic interconnectedness (Friedman 2000:13). The repercussions of these events often leave individuals with trauma that affects their capacity to cope emotionally, psychologically, and physically (NIH 2014). The core of this trauma lies in the sense of disconnectedness from others, bridging the gap between individual and collective experiences (NIH 2014). The challenges the world is facing are indivisible, according to the International Monetary Fund (Georgieva 2022). The COVID-19 pandemic was one such event that impacted individuals as well as the collective psyche, affecting the whole world (Mukhtar 2020). This trauma resulted in individualized responses, ranging from immediate stress reactions characterized by shock and emotional apathy to long-lasting effects that span over time (NIH 2014). The world is in a precarious position due to a series of crises that have made the future even more unpredictable and uncertain (Georgieva 2022). The recent convergence of the COVID-19 pandemic and the Russian-Ukrainian war in 2022 emphasized the relevance of this fragility, which has hindered global recovery (Georgieva 2022). In October 2023, the conflict in Gaza and Israel reiterated the theme of a wild wind of destruction sweeping through an area and uprooting a society that loses its accustomed balance. Within these changes, individuals are injured, broken, and lost within the broader societal context.

Installation Disasters strike quickly and cause harm (Bonanno et al. 2010). Ephemeral Anemoi invites viewers to contemplate the effects of global disasters as well as personal trauma and immerse themselves in the turmoil. It is based on the theme of change, with windsocks and tumbling figures as the focal point. The installation intertwines the fleeting essence of the mythological Anemoi, the wind gods of ancient Greece, each with its own temperament and strength, directly influencing the windsocks and their orientation. The intention is to create an experience that enables viewers to explore the transient and transformative aspects of human existence, along with their personal responses to circumstances beyond their control. Windsocks billow among tumbling human sculptures, suspended above a pool of reflective water. Just as the water mirrors the installation, individuals can reflect on their own capacity to respond to traumatic experiences.to respond to traumatic experiences.

11. Rothea du Plessis Ephemeral Anemoi Installation. Cement, clay, wax and steel. 3 x 5 x 4m 2023

12. Rothea du Plessis

13. Rothea du Plessis

Ephemeral Anemoi

Installation. Cement, clay, wax and steel.

3 x 5 x 4m

2023

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14. Rothea du Plessis

15. Rothea du Plessis

Ephemeral Anemoi

Installation. Cement, clay, wax and steel.

3 x 5 x 4m

2023

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16. Rothea du Plessis Ephemeral Anemoi Installation. Cement, clay, wax and steel. 3 x 5 x 4m 2023

17. Rothea du Plessis Ephemeral Anemoi Installation. Cement, clay, wax and steel. 3 x 5 x 4m 2023

19. Rothea du Plessis Ephemeral Anemoi Installation. Cement, clay, wax and steel. 3 x 5 x 4m 2023 16

Photography

20. Rothea du Plessis Ignis #1 Photograph on Cartridge paper 700 x 100cm 2023

21. Rothea du Plessis. Ignis #2. Photograph on Cartridge paper. 700 x 100cm. 2023 Wind, water, fire and earth are all present in the installation. Fire is a catalyst for change and destruction. The burning windsocks reflect the transient nature of trauma and the fragility of life. Covered with fabric and set alight. The debris of the windsocks are evidence and reminders of past trauma. Ephemeral Anemoi emphasises the impermanence and unpredictability of trauma in life, both on an individual level and as a part of the global community. It is a reflection on the shared human experience and our collective journey through the ephemeral nature of life.

22. Rothea du Plessis Ignis #3 Photograph on Cartridge paper 700 x 100cm 2023

23. Rothea du Plessis Ignis #3 Photograph on Cartridge paper 700 x 100cm 2023

List of illustrations 1. Rothea du Plessis, Ephemeral Anemoi (2023). Installation, cement, clay, wax and steel. 5 x 3 x 4m. 2. Rothea du Plessis, Ephemeral Anemoi (2023). Installation, cement, clay, wax and steel. 5 x 3 x 4m. 3. Rothea du Plessis, Ephemeral Anemoi (2023). Installation, cement, clay, wax and steel. 5 x 3 x 4m. 4. Rothea du Plessis, Ephemeral Anemoi (2023). Installation, cement, clay, wax and steel. 5 x 3 x 4m. 5. Rothea du Plessis, Ephemeral Anemoi (2023). Installation, cement, clay, wax and steel. 5 x 3 x 4m. 6Rothea du Plessis, Ephemeral Anemoi (2023). Installation, cement, clay, wax and steel. 5 x 3 x 4m. 7. John Divola, Zuma #4 (1979). Chromogenic print, 24.9 x 30.6cm. Museum of fine arts, Houston. Catalogue Number 80.1.5. https://emuseum.mfah.org/objects/5158/zuma4;jsessionid=4CEF34487B17897623F3C8425E68D5B4 (Accessed 20 October 2023). 8. Janet Echelman, She Changes (2005). Tenara® PTFE architectural Fiber, 50 x 150 x 150 meters. Porta, Portugal. image courtesy Florence Lynch Gallery Photo: Joao Ferrand and David Feldman. Her secret is patience, and she changes- Janet Echelman. Architectural Design, 79(2), 76–79. doi:10.1002/ad.856 (Accessed 8 August 2023). 9. Rothea du Plessis, Ephemeral Anemoi (2023). Installation, cement, clay, wax and steel. 5 x 3 x 4m. 10. Rothea du Plessis, Ephemeral Anemoi (2023). Installation, cement, clay, wax and steel. 5 x 3 x 4m. 11. Rothea du Plessis, Ephemeral Anemoi (2023). Installation, cement, clay, wax and steel. 5 x 3 x 4m. 12. Rothea du Plessis, Ephemeral Anemoi (2023). Installation, cement, clay, wax and steel. 5 x 3 x 4m. 13. Rothea du Plessis, Ephemeral Anemoi (2023). Installation, cement, clay, wax and steel. 5 x 3 x 4m. 14. Rothea du Plessis, Ephemeral Anemoi (2023). Installation, cement, clay, wax and steel. 5 x 3 x 4m. 15. Rothea du Plessis, Ephemeral Anemoi (2023). Installation, cement, clay, wax and steel. 5 x 3 x 4m. 16. Rothea du Plessis, Ephemeral Anemoi (2023). Installation, cement, clay, wax and steel. 5 x 3 x 4m. 17. Rothea du Plessis, Ephemeral Anemoi (2023). Installation, cement, clay, wax and steel. 5 x 3 x 4m. 18. Rothea du Plessis, Ephemeral Anemoi (2023). Installation, cement, clay, wax and steel. 5 x 3 x 4m.

Bibliography Bonanno, G. A., Brewin, C. R., Kaniasty, K., & La Greca, A. M. 2010. Weighing the Costs of Disaster: Consequences, Risks, and Resilience in Individuals, Families, and Communities. Psychological Science in the Public Interest. Issue 11(1), 1-49.

Collins Dictionary online. 2023. Sv “ephemeral”. https://www.collinsdictionary.com/dictionary (Accessed 20 October 2023).

Echelman, J. 2009. Her secret is patience and she changes- Janet Echelman. Architectural Design. 79(2), 76–79. doi:10.1002/ad.856 (Accessed 8 August 2023).

Friedman, T.L. 2000. The Lexus and the Olive Tree. New York: Anchor Books.

Georgieva, K. 2022. Facing Crisis Upon Crisis: How the World Can Respond. International Monetary Fund. Washington, DC. www.imf.org/en/News/Articles/2022/04/14/sp041422curtain-raiser-sm2022 (Accessed 1 August 2023).

Morgan, R.C. 2005. Janet Echelman’s She Changes. Sculpture Magazine. www.sculpturemagazine.art/janet-echelmans-she-changes/. (Accessed 2 August 2023).

Mukhtar S. 2020. Psychological health during the coronavirus disease 2019 pandemic outbreak. International Journal of Social Psychiatry. 2020:66(5), 512-516. www.journals.sagepub.com/doi/full/10.1177/0020764020925835. (Accessed 28 July 2023).

Roman, L and Roman, M. 2010. Encyclopedia of Greek and Roman Mythology. Maple Vail Book Manufacturing Group, Pennsylvania.

Winant, C. 2014. John Divola. Frieze. Issue 160, 140-141. https://0-eds-s-ebscohostcom.oasis.unisa.ac.za/eds/pdfviewer/pdfviewer?vid=1&sid=26265631-a017-4a1f-8a854baa38bc3af2%40redis (Accessed 20 October 2023).

Witt, A. 2018, ‘You speak of things that haven’t happened yet in the past-tense’: John Divola’s Los Angeles. Oxford art journal. Volume 41(3), 403-426. https://0-eds-s-ebscohostcom.oasis.unisa.ac.za/eds/pdfviewer/pdfviewer?vid=0&sid=2a5c2454-3150-4668-9851c54609cd25db%40redis (Accessed 19 October 2023)