The compositions that cover the black, white and grey glossy pages of the latest issue of Jiggered magazine indulge the reader’s imagination with colourful insights and interpretations.
The compositions that cover the black, white and grey glossy pages of the latest issue of Jiggered magazine indulge the reader’s imagination with colourful insights and interpretations.
Subtitled, “art or death”this issue claims it “tries not to be apathetic, but suspects that the couch is the new pulpit.” If the couch truly is the contributors’ working place, then what a thought-provoking platform it has become.
Started by Rhodes University students and aimed at the Grahamstown community with contributions made by anyone willing, this issue of Jiggered is bound to give your mind 37 pages of creative stimulation.
Artfully designed with every splurge of ink on the pages in place for a provocative reason, it complements – and exceeds – the previous issues.
The set design of the page numbers written out in words articulates the magazine’s arts and literary style. The different font-types and designs of the headlines are carefully selected so as to reflect the composition’s content.
Artistic drawings tastefully supplement the writing. The photography is experimental. The writing is well edited.
The pieces are loaded with complex and colourful ideas, for example in, “One more cup of coffee” by Grant Griesel, “Your eyes are like two jewels in the sky as you recognise my face in that long moment of comprehension.”
The only critique I have of this publication is that it may not be directly interpretable to the general public due to the academic register and style.
For example the first sentence of the piece by Rachel Baasch, “The Art of Depression” which says: “Obsessed with the intricacies of visual language in all its grotesque and glorious forms, I over-packed and under- planned, climbed aboard the ever faithful City-to-City bus and grumbled for 26 hours before arriving in Maputo, the capital of Mozambique.”
In this third issue, Jiggered prides itself on bringing “creative capacity” to the fore which is something which the editors claim that people can’t live without.
With their belief that “everyone is an artist,” the creative ideas that feature in this issue are open to interpretations.
But the pieces do not always give the reader solutions to the topics and ideas that they elicit. The coverage of topical subjects in this issue builds onto and supersedes that of the previous edition, with fuller and more opinionated articles.
For example, the story on moral regeneration which looks at the Minister of Arts and Culture’s response to art productions in South Africa.
I find that although the compositions make statements and are opinionated, they are not forced upon the reader.
I particularly liked the story, “hope commodified” which aspired to my journalistic senses for its wit, opinion and spunky style.
The explanation for the black crow perched on the front cover adjacent to the city buildings made of words awaits your read of this issue.
The editors’ symbolism of the crow and suggestion that it “understands that there is always creative fodder to be found in the garbage,” is indeed an explanation of what can be found on the pages of issue number three.
This publication reflects the skill and effort put into making this an enjoyable read. Jiggered can be purchased at various outlets in Grahamstown, including UPB and Red Café. Contributions can be sent to jiggeredhouse@gmail.com.
