A few weeks ago I sent an email out to my friends inviting them to join me on a dash up Bushmans Neck to photograph Chrysoritis orientalis. A lot of interest and very little commitment was shown as the hill is very steep. Eventually two of us went. My old mate Clive Curtis, a professional hunter who can walk for a week before he starts panting and myself. I collected Clive at 05h30 from his house and we headed to Bushmans Neck. After a very misty drive we signed in at the Ezemvelo Gate and started the walk.
The path to the colony goes straight up the main ridge above the hotel, it is very steep and in some places precipitous on either side. On the way up we came across a small colony of Aloeides oreas. One particulary fresh male allowed us time to photograph him.
Clive has started a stock video company (linked to his hunting video business http://www.safari-vision.com/) and was able to get a lot of footage of this little chap. From here (about half was up) we dashed to the top. It took spot on an hour from the car park to the colony. I have visited the colony on a number of occations. Some on my own, once with Clive (where we had to sprint off the hill to avoid the huge lightning storm that appeared from Lesotho) and also once with Alan Heath where I found the larvae and Alan was able to breed the insect. Needless to say we walked the colony flat. We saw one very ropey female and nothing else. I suggest that we were far to late for the brood and should head up there again in October and November next year. That said we found two colonies of rocksitters on top. The species amakosa of the genus Durbania has been split into a number of subspecies. I collected a number of specimens from this locality 16 years ago and showed them to Steve Woodhall. They were nothing like our local insect, Durbania amakosa natalensis. I thought they were closer to the nominate amakosa however the red/orange patterning on the wings was far more extensive. Since then we have bred them from three localities and I am fairly sure now that they deserve subspecific status. Anyway, here are two males found in the upper colonies.
Again Clive got loads of footage of these. We then set off down the hill to see what we could find in the Proteas. Not long after entering the Protea stand we cam accross a male Capys alpheas, a butterfly whose larvae feed on the flower heads of Proteas. In the Proteas we also found more rocksitters. Further down the hill we came across a number of skippers. Spialia skippers have always confused me and here we had two of the 10 odd species. Anyway, I got home and IDed them (with confirmation from Steve Woodhall and skipper guru Johan Greyling). We found two, Spialia mafa and S asteroidia. I got a number of photos and Clive some video footage.
And finally a few candid shots of Clive photograhing the Spialia int he photograph above and on the walk home.
We got to the bottom absolutely famished and Clive treated me to lunch preceded by a iced lolly, one of those lollies where the packet should read “defrost and add 5l of water”, it was sweet but exactly what we needed. The usual conversation on the way home was a little less enthusiastic than usual as we were both rather tired. It is a hard climb and my cycling legs struggled!!
Things have been pretty wild for the last few weeks getting the Agric Hall going anf people have been asking me whats happening for December. Well December is here and the first person who will be in for the period Dec/Jan is Steve Bailey. Steve is an award winning Eastern Cape based photographer. A brief bio follows as do a number of photographs but please visit Steve site www.stevebailey.co.za for more information.
This December we hope to see Allen Hallett return to the Kiln after a very successful exhibition in Gaborone.
An now a brief bio :
“Steve Bailey was born in Liverpool, England and moved to Southern Africa when he was 10.
He has always had a passion for Photography – eventually studying Graphics/Photography, obtaining a City and Guilds Diploma in Graphic Reproduction.
He spent 25 years in Zimbabwe before moving to Cape Town, South Africa. He is now resident in Bedford in the Eastern Cape”, and a few photographs…..
A few weeks ago University of Natal art student, Sharon Weaving, approached Fran to use the Kiln at the Karkloof Farmers Market as a venue for the examination of her work. So, for the next week the Kiln is hers and her examiners. Next Saturday we will be back in and her work will be on view along with ours.
So, before I post photographs a short blurb on Sharon….
“I have always been passionate about art and craft. Whether ceramics, beadwork or knitting I find that creating with my hands is exciting, fulfilling and therapeutic. My passion stems from my Mom’s love for all handcrafts and the enjoyment she derives from experiencing a new craft and passing on her knowledge. I am excited to hear about the activities of new craft movements currently on the go. These are worldwide initiatives motivated by like-minded artists / crafters, young and old, encouraging people to appreciate all that is handmade. I think this is wonderful as these movements promote the ‘funky’ aspects of craft, and how contemporary art and craft can be used in development, activism and therapy. I believe that art and craft are such an important part of life and should be promoted as such.
I was first introduced to ceramics by attending underglaze painting classes which later progressed to running a ‘ceramic-painting’ studio from home. My passion for ceramics continued and I decided to study a BA (Visual Art) at UKZN, followed by Honours and Masters majoring in Ceramics. I started hand-building with porcelain in my Honours year, demonstrating an exploration of texture and translucency in my work. My ideas progressed further with the piercing of the vessel surface to create shadows.
The casting of shadows continued into the body of work that I now present. I started making geometric structural forms which were dipped in paper porcelain and fired to 1200˚C. The fired structure assumed a soft, organic quality in its slumped state which I found appealing, and continued to play with this element of ‘chance outcome’. Whilst working with these forms I discovered that I wanted to achieve a greater organic quality of form and decided to make the frames myself to have more command over the final product.
Countless test pieces later I discovered the composition of material, process and clay body suitable to create my recent works. Each piece is individually crocheted, dipped into an ‘engobe’ and dried over a mould. Once dry, the pieces are fired to 1200˚C, burning away the crochet cotton , leaving a hollow, fragile, porcelain structure each of which casts its own unique delicate shadow. I am very excited to have been able to use an age-old craft such as crochet in an unconventional manner thus illustrating that there is a place for time-honoured crafts in contemporary ceramics and other art forms.“