verticality: an axis [within]Between collaborative artists:Dorothea Fleiss (Germany)Sonya Rademeyer (South Africa)
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Vertical: a) Axis of a plane / direction of alignment, as in the spineb) Positioning of highest point of zenith / somethingc) Anatomy relating to the crown of the headc) Progression of stages / transmission of disease
Internal verticalityWhat does verticality mean? Certainly, looking at the various definitions given above, it is clear that it relates closely to being human. More particularly, verticality can be said to be within the human body as such, with references to anatomy (the head), disease (transmission thereof), positioning (of the body) and alignment (of the back or spine). This is an internal way of referencing the verticality of the body, which is universally shared by all living bodies. However, not all necessarily share external verticality, which is verticality that is reflected away from the body towards the ‘other’. In other words, external verticality is a social or cultural verticality, which, in this proposal, becomes the main focus. This is not to say, however, that its inner counterpart is pushed aside or diminished in any way.External (Cultural) verticalityThe cultural verticality in the collaboration between Fleiss & Rademeyer, presents within a particular framework: North & South. The genesis of this configuration, is born out of geographical orientation: Fleiss lives and works in Germany; Rademeyer in South Africa. The collaborative exchange thus centers round the given phenomenon of ‘place’, and what the interpretations of place are for each of them individually. Through exploration of their own particular place or culture, and by way of trans-cultural exchange, they thus investigate not only their differences, but also their similarities.
InstallationThe projected installation is situated within an environmental landscape. Its location is thus external, serving as metaphor for the verticality between North & South that has already been identified as an external one. Similarly, the site of the installation, in other words, the landscape itself, mirrors the concept of external verticality in the geography of place.
The internal verticality, by no means excluded or pushed aside, is represented by the sequence of hoola-hoops within this landscape, placed in close succession of one another. The conjoined cylindrical forms of the hoops are reminiscent of internal arteries or veins, becoming metaphors for the internal verticality present in humans. Individually, each of these hoops defines space both internally and externally, and collectively they form a string or chain, bearing strong associations with that of the spine, which forms the vertical axis of the body.Noticeably, the artwork is not presented vertically, but rather horizontally. There are clear reasons for what seems to be incongruent with regard to concept, but is not. Neuropsychological research suggests that vision (in other words, visual detail) has a ‘distracting effect … on mental imagery’,[1] indicating that if blindfolded (as performed in this recent study), mental or imagined representation of an object is recalled significantly stronger, if it recalled from memory and not sight. And, although the viewer is not physically blindfolded in observing the artwork, emphasis nevertheless, is placed on the labour of recall (memory) as to why the installation occurs horizontally, which concept might otherwise dictate. What this means, in effect, is that it is precisely because of the opposing (horizontal) placement of the installation, that memory is able to create a stronger sense of verticality.
Collaborative WorkThe essence of the collaborative work between Fleiss & Rademeyer, lies in the placement of the hoola-hoops. Although this may appear to be a somewhat simplistic exercise, it essentially proves to be a complex task of note. This is because the placement of the hoola-hoops not only identifies, but also represents the high-context culture (South Africa) and low-context culture (Germany).In low-context cultures, of which Germany is one, communication is direct and linear, whereas in high-context cultures, such as South Africa, the way of communication is relational and spiral. Words and content carry great weight in Germany, whereas the message (which is not content driven) is relayed far more strongly through non-verbal communication in a country such as South Africa. So too, the relational value of the group is important in high-context culture, as opposed to individual communication in low-context cultures, such as Germany. Power distance, within high-context culture places masculinity as superior, whereas in low-context culture there are no gender differences with regard to power. Time and efficiency places a high premium in Germany; South African does not. Where tradition matters to high-context cultures, it does not to low-context cultures.Therefore, Fleiss’s interpretation of German culture and communication necessitates the placement of her hoola-hoops in a rigid linear fashion, regimentally spaced out to portray the significance of time. Rademeyer’s interpretation, in clear contrast, requires a circular and chaotic display.ConclusionIt is clear that, culturally; the differences between North (Germany) and South (South Africa) are diverse. By engaging on this level, creatively and personally, much is to be learnt from one another. An exchange of cultural value systems and communication can only broaden and enrich artistic interaction and collaboration.
[1] G. Rode, Looking while imagining: the influence of visual input on representational neglect in NEUROLOGY 2007; 68:432-437.
