XVIII - materialization of matter

I grew up on a farm with my grandparents. The women cooked and sewed and the men worked the land. Living on the farm was great, but for two experiences:

1. Now and again there was a problem when my grandfather’s sheep fell prey to a jackal or two. This meant the neighbors all came together late one afternoon and while the women cooked and busied themselves at the house, the men would hunt for the culprits. I had to go with . . .

2. My Grandfather had a herd of Blesbuck (a purplish antelope with a distinctive white face and forehead). Once a year, during winter, family from the city and special friends, would all come to the farm. A big day when they would slay a cow, pig, sheep and a Blesbuck.

photo - blue forest safaris

The animal trophies were displayed on the big old veranda wall.

photo - how stuff works

I am proud of my family history, but could not follow in the footsteps with the practice of slaughtering and eating meat.

However the sculptural shapes and colors of these trophies and bones – some much older than me – has always fascinated us both.

It is evident in most of our work that nature always plays a prominent role in our inspiration.

We designed and made a range of ceramic trophies as substitutes for the real thing.  

The Kudu Horn - Seam lines are left to emphasize the sculptural qualities

These include a Kudu Horn – the first Kudu Horn we made was designed and ultimately cast in stainless steel and chrome, as a Trophy for Vodacom sponsored - African Challenge Soccer.

Ceramic Wildebeest Trophy

Ceramic Springbok Trophy

Ceramic Nature Study - Snails and Succulents

The silhouette and outline of the form becomes an important design element

The illusion to make an object in clay to look like something else.