QUESTION 3: Socio-political art STYLE OF WORK MEDIUM AND TECHNIQUE – including Resistance art of the Naturalistic Pencil drawing with careful rendering of the ’70s and forms in light and dark. ’80s TITLE: MESSAGE AND MEANING Manfred Zylla, Bullets and Sweets, This diptych refers to peculiar desire of the pencil and watercolour, leaders of the South African Defense force to be 1985 loved by the township children in spite of the towards army’s usually monstrous behaviour SUBJECT , DESCRIPTION & FORMAL ART them. Every now and then the army would send ELEMENTS a Casspir full of soldiers into the townships not Zylla used these events to create a to hand out the usual retribution (shooting, powerful diptych. beating up and arresting people), but to The right panel is dominated by a brawny soldier with a half-smile on distribute leaflets to the people are reading, ‘We his face. He is viewed from under your friends' or to play a game of soccer, or to and is a huge presence as looks hand out sweets. Of course, on such occasions down the barrel of his gun. The row the press is welcomed to report in the next of bullets emerged from his crotch. day’s newspapers. In his bag a Cape Dutch homestead Zylla critised apartheid in this work by showing and a sausage on the fork appears the atrocities experienced by people living as reference to his heritage. The under the effects of apartheid. soldier is however not shooting bullets, but rather sweets which lie at the feet of a small group of township children. These children in the left hand panel are terrified and bewildered by this ominous presence of the soldier and are ignoring the sweets. They are shielding themselves against anticipated blows and are ready to run away. The sweets are also seen at the top and form a type of frame for the scene. A row of army vehicles is seen at the top right. The soldier in this work portrays a sense of detachment as he performs his duties, in comparison to the very expressive faces of the school children. There is a fairly naturalistic depiction of figures, but with a distorted viewpoint especially as seen in the figure of the soldier. There is a strong contrast of monochromatic tones. T The use of the diptych also implies that the soldier and the children come from two different worlds linked only by the sad reality of the gun. The overwhelming effect as similar to a newspaper photograph which is enforces by the use of text.
QUESTION 3: Socio-political art – including Resistance art of the ’70s and ’80s STYLE OF WORK Naturalistic MEDIUM AND TECHNIQUE Pencil drawing with careful rendering of the forms in light and dark. TITLE: Manfred Zylla, Bullets and Sweets, pencil and watercolour, 1985 MESSAGE AND MEANING This diptych refers to peculiar desire of the leaders of the South African Defense force to be loved by the township children in spite of the army’s usually monstrous behaviour towards them. Every now and then the army would send a Casspir full of soldiers into the townships not to hand out the usual retribution (shooting, beating up and arresting people), but to distribute leaflets to the people reading, ‘We are your friends' or to play a game of soccer, or to hand out sweets. Of course, on such occasions the press is welcomed to report in the next day’s newspapers. Zylla critised apartheid in this work by showing the atrocities experienced by people living under the effects of apartheid. SUBJECT , DESCRIPTION & FORMAL ART ELEMENTS Zylla used these events to create a powerful diptych. The right panel is dominated by a brawny soldier with a half-smile on his face. He is viewed from under and is a huge presence as looks down the barrel of his gun. The row of bullets emerged from his crotch. In his bag a Cape Dutch homestead and a sausage on the fork appears as reference to his heritage. The soldier is however not shooting bullets, but rather sweets which lie at the feet of a small group of township children. These children in the left hand panel are terrified and bewildered by this ominous presence of the soldier and are ignoring the sweets. They are shielding themselves against anticipated blows and are ready to run away. The sweets are also seen at the top and form a type of frame for the scene. A row of army vehicles is seen at the top right. The soldier in this work portrays a sense of detachment as he performs his duties, in comparison to the very expressive faces of the school children. There is a fairly naturalistic depiction of figures, but with a distorted viewpoint especially as seen in the figure of the soldier. There is a strong contrast of monochromatic tones. T The use of the diptych also implies that the soldier and the children come from two different worlds linked only by the sad reality of the gun. The overwhelming effect as similar to a newspaper photograph which is enforces by the use of text.
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