For with you is the Fountain of Life

For with you is the Fountain of Life(front view), 640 X 500 X 360 mm Collection and copyright with the photographer Jac De Villiers.

Process:

Press-moulded and hand built extensions with red and white stoneware clay, and bisquit-fired to 900 degrees Celsius. Airbrushed and painted with under glaze colours. The 'clouds' were painted with various under glaze colours and scratched to reveal the various layers beneath.. Fired to 900 degrees Celsius. Areas were wax-resisted and glazed in a transparent earthenware glaze (sprayed). Fired to 1060 degrees Celsius. Painted with over glaze colours and lustres and fired to 720 degrees Celsius. The 'table-cloth' was painted in a acrylic.

Imagery:

From the front this sculpture depicts the face of Jehovah the law-giver and enforcer. The body and head are predominantly blue, and this together with the stars and the clouds, are indicative of the concept of God's transcendence and infinity. Symmetrically on either side of the magic head of Jehovah are forms evocative of the sweetness inside the strength of Jehovah. Inside the central block is depicted a fountain from which the River of Life gushes forth, pouring in rivulets down a series of curved steps that lead up to the throne of Jehovah.

For with you is the Fountain of Life. (back view).

From the back the sculpture represents 'Jehovah Jireh' God the provider. The all seeing eyes of God survey mankind from behind reliefs depicting the quadromorph - the four symbols of the evangelists. The eagles claw represents St. John; the lion's paw represents St. Mark; the calf's hoof represents St Luke; and the human hand, the angel of St. Matthew. The symbols appear from behind a form representing the rays of the rising ' Sun of Righteousness ' which is an allusion to the 'son of Righteousness', God become man - Jesus Christ.

The form of the sun paradoxically represents a recess symbolising the tomb, from which the 'Son of righteousness' rose on the third day.

Before the sun and the tomb is set a table bearing a plate on which is placed the Fruit of Eternal Life.

Portrait of the artist (1985) with the sculpture in studio of the photographer Jac De Villier

Leda and the Swan

Leda and the Swan (1986) MFA work, 210x 420x125. Collection Peter Amm (his previous home displaying the work is featured below) 


This particular work is one of my favourite sculptures. Made during my masters at UCT in 1986, it is the first work to feature on this blog specifically as a Gallery. Every so often I will feature an earlier work, the archival label will feature as a Gallery with the date - e.g. Gallery 1986 (as in this case). Visitors to the blog will be able to access all previous works this particular way. 

Ceramic Technique. 
Press- moulded in white stoneware clay. Airbrushed and painted with stained earthenware slips and under-glaze colours. A matt-black glaze was used as the base colour for the tongue. The 'fish' and 'asparagus' were glazed in a transparent earthenware glaze (painted on) Fired to 1060 degrees Celsius.  

Leda and the Swan - visual reference. (left) Greek god Zeus in the form of a swan (with Leda) Late Roman sculpture.


Imagery of Ceramic Sculpture: 
The mortal achieving immortality is represented sailing on a ship to the underworld. The figurehead, a swan, symbol of purity and the righteousness of God, ensures a happy death and safe journey to the underworld. 'Greek mythology is full of animal symbolism. Zeus, the father of the gods, often approaches a girl he desires in the shape of a swan, a bull or an eagle (Jung, Carl J. Man and his symbols). The protuberant tongue is symbolic of a change from darkness to light. The subject is enticed to become impregnated by the spirit, represented as God's phallus in the form of an asparagus. The asparagus pierces the Veil that once separated the mortal from immortality. The fish is symbolic of immortality; hence the metamorphosis of the two blissful twins, Youth and Joy.Zeus, the father of the gods, often approaches a girl he desires in the shape of a swan, a bull or an eagle (Jung, Carl J. Man and his symbols).






















Peter Amm house, featuring the sculpture, Glen Beach, Cape Town. as cited in the Fair Lady Magazine in April of 1986. 

View of the atrium of the house; view towards the sea.

The stoep; view of the sea and the mountains.