Jewish Affairs - South African Jewish Board of Deputies

JEWISH AFFAIRS ROSH HASHANAH 2012Lüderitz was a very German town, as could beseen in the local architecture, the most beautifulGerman China glass on sale in the shops, theclothing people wore and so many other touches.There were only about 1500 white people and3000 blacks. Our good friends were Wilfred andMolly Lubowski, whose son, Anton, was laterassassinated by the government because of hispolitical activities.Luckily, I spoke German. I started the ArtsAssociation, dabbled in clay and plaster of Parisand gave lessons in English, Scandinavianembroidering and drawing. I loved the colours ofthe sand dunes, the sunsets and the semi-preciousstones along the beach, called Agate Beach. Today,Namibia is a great tourist destination. I understandthat it has a harsh climate, but there is so much tosee. There are no words to describe the desert, therocks, the mountains and the sheer openness ofthe country.I cannot say that I was sorry to leaveLüderitzbucht. Being so high spirited and excitedabout life in general, I had been stagnating at astill young age. A short spell followed in Umtata,Eastern Cape, where Larry went for a refreshercourse. It was heaven, moving from a very Germanto a very English environment. Certainly, it is oneof the most beautiful parts of South Africa. It wasthere that my inspiration began to return. I joinedthe opera group and started sculpting and painting,sculpture being my main interest. Umtata was asmall town, but very much alive. There was awide array of different ethnic groups, whose artand craftwork were so colourful.On my return to Windhoek, I fixed up a studioand started sculpting in earnest. As I have saidpeople, all people, interested me. One can take aphoto, but working in clay or plaster in threedimensions is really to get to the inside of theperson. It also enables the artist to spend timewith those they are portraying, conversing withand learning all about them. One becomes a kindof psychologist after a while. You would bestaggered to learn some of the things that sittershave confided to me!Larry was a modest, humble human being,quite opposite to me in many ways. He wascompletely devoted to his patients, expending adegree of time and effort on their behalf thatcontrasts strongly with the way the medicalprofession operates today. Often, he would sendme patients who were depressed, bringing theminto my art classes where we helped them toregain some confidence in themselves. I also usedto help people who had been ill or injured get backthe use of their hands by using clay. After ourmove to Johannesburg in 1973, Larry was incharge of looking after political detainees. It wasa trying, often heart breaking time, but thankgoodness they were so well treated by him. Hewrote his own memoirs before his passing someseven years ago.When we moved to Johannesburg, I neverdreamt that I would be accepted into the GoldenCity art scene, but with the friendship of CecilSkotnes, Larry Scully and one or two others, mycareer soon took off. I knew that it was not goingto be easy, but I really wanted to be a portraitsculptor. I was given an exhibition by NormaWolfewitz, who had opened a gallery, andexhibited with an English painter. To myastonishment, I sold all fourteen of my Namibianethnic heads. I now began getting regularcommissions and never needed another exhibition.I had some wonderful exciting times, travellingto many parts in South Africa to do my subjects.After doing a portrait, I would always put down inwriting my feelings about the work just done andthe characters of the people depicted.The materials with which sculptors work vary.I was introduced to clay plaster of cement fondue,a metallic cement (it has a high aluminium content)from France, by Frank McWilliam in England.One of the top sculptors of the day, he wascommissioned to do the head of the Herero ChiefHosea, to be placed in the United Nations buildingin New York. I was introduced to him by myfather, and he became my mentor and great friend.He taught me so much and I met many interestingpeople through him. When I got home, I could notstop working. One of my main subjects was theBushmen people, without whose art we wouldhave no history of our forebears of tens ofthousands of years ago. I learnt so much and hadsome glorious experiences with them.Anthropology is magical to me. I could easilyhave become an anthropologist, and also apalaeontologist. I read whatever I could lay myhands on regarding this, and as it turned out cameto do the heads of Philip Tobias and RaymondDart, two great world authorities in the field.These heads are now at the Medical School atWits University. Philip and I remained dear friendsuntil his passing earlier this year.Portraiture is the orphan of the art world butmake no mistake, it is exciting and exhilarating.I did my work because I loved the interaction withthe subjects, not for financial gain. I honoured thepeople I felt were of historical importance, andmoney could not buy that.I began receiving commissions from far andwide. When I was approached by MangosuthuButhelezi of the Zulu nation to do King Shaka, Iwas overjoyed. King Goodwill Zwelethini,members of the family and Buthelezi himselfwere constant visitors. The unveiling took placein 1979, the centenary of the Anglo Zulu War.There were many guests from the UK, and myheart was full being part of that historical event.I was then commissioned to do Lieutenant-Colonel Arthur Johnstone, Chief Scout of SouthAfrica. This commission lead to a friendship Iwas extremely proud of. He was the Prior of StJohns, Lt-Col of the Transvaal Scottish Regimentand head of various mining companies. His wife,Irene, became one of my very dearest friends. The5