When even the Eden district in the Southern Cape recently experienced the onslaught of rhino killers near Mosselbay, sculptor Spies Venter had cause to reflect, with sadness, as well as anger, on his relationship of so many years as artist with these wonderful creatures.
“As a young sculptor I was already interested in the rhino. On my return to South Africa in 1965, on completion of my studies on a British Council scholarship at St Martins’ School of Art, London, the first place I went to, to once again encounter the African bush and wild life, was the Umfolozi Game Reserve,” relates Spies, who has his studio, and heads Voorburg Art School, in Great Brak River, where he settled eight years ago.
“It was a wonderful experience, which I will remember to the end of my life. Going into the veld, with only the alert game warden as company. The quiet; the grasses; smelling the dung... I then started sculpting and painting these wonderful animals. I was not so much interested in visual interpretations, but in seeking the soul of these magnificent beasts that can move like ballet dancers, yet appear clumsy -- and even docile -- when stationery. They are spiritual beings, at peace with themselves; so very much part of God’s creation.
“I was inspired, and challenged, to interpret the quiet (hidden) energy of these monumental creatures, working from the known to the unknown. There is the machine-like sculptural head that gives the rhino its armoured look, yet this head is relatively small in comparison with the bulkiness of its body. I had already as a student been fascinated by Albrecht Dürer’s 1515 woodcut “Rhinoceros”. Little did I know how this study would later inspire me after having experienced a “real” rhino in its natural habitat. Thus, thanks to Dürer, my first rhino sculpture reveals something of my past discovery. His influence is also discernable in some of my later works in mixed media.
For Spies Venter modelling these creatures in plaster of Paris, and carving (into) these shapes with chisels, to convey the hidden rhythmic energy, was exciting. These works were then cast in bronze.
“After not approaching this theme for some years, I started in 1996 drawing and painting the rhino in the metaphoric context of the opposition of man and beast in series titled “Power play”. Studies in ink formed the basis of this renewed involvement, culminating in large canvases on which I painted with big brushes.
“In this time I came across an illustration done by Dorothy Kay in the 1940’s for an article about the facilities and costs of “arranged safaris” in Kenya for the magazine Africa. Dorothy called the article “The last safaris”, showing a rhino attacking a hunter, catapulting him into the sky – pith helmet, rifle and all. It was clear on whose side she was on!”
This spurred Spies on, with the concept of ‘power play’ starting to dictate what was to be portrayed: man against beast; mutilation; victor versus looser, both ultimately victims of spurious values.
Spies is concerned with the outcome. Will the wildlife of Africa – and humanity ultimately -- survive the onslaught?
Spies Venter 07/02/2011