Notes

Tshukudu Njana, Udula & Tshukudu Njana, Uyema

The rhino calve studies originated from an earlier study I did for a possible commission in Mozambique of a mother and calf. Observing and modelling the calf made me aware of the relative oddity and beauty of the rhino’s physiology – the beautifully full and rounded articulation of unknown, complex shapes to be found all over their bodies. Usually, I prefer domestically disregarded animals as subject matter such as donkeys, but I think the rhino calves embody the same humility and peculiarity. I wanted the sculptures of them to embody those same feelings of empathy and pathos, as if to say, ‘as we breath, we hope’.

Over the years I started using text in my work, mostly embossed and engraved on the surfaces of sculpture. Some of the texts I used were written by me and others either found or written in collaboration with fellow artists, writers, thinkers, and philosophers. Text articulates the surface and creates another compositional and visual element to balance and to play with. Moreover, text offers viewers yet another experience when viewers come close enough to the work to read it. As a society we’re fixated on determinate, explicit information. Therefore, I attempted to not preach or express circumscribed concepts with my chosen text. Rather, I wanted the text to expand the artwork in a poetic, affective manner.

In our complex contemporary world, I often find it hard to access the kind of ancient wisdom that has slowly accumulated through felt human experience, through our work and our collective efforts as human beings. Latin is rich in idioms, many of which we use today still. I enjoy using these as ancient, universal and timeless chunks of wisdom. For example, on the rhino calves I repeated Dum Spiro, Spero (‘whilst I breathe, I hope’) to convey the main sentiment of my part of this exhibition concerning our natural environment and its inhabitants.

You can only hope that others, especially those chiefly responsible for taking care of our natural habitats, have the capacity and resources to help conserve these immensely valuable, pristine patches of timeless wonderland. You hope the awe of it all still captivates the average person, that it may be understood in its understated, though majestic existence. You hope that as humanity we may group together and help banish the idea that specific animal parts have mystic powers, and that everything is there for our use only. You hope that we have learned that we are no more important than any other species or life form. You hope, and maybe also in your own way attempt to shift human perception so that we may help to shift the seeming impossible tide of natural devastation and destruction.

We are part of nature; in Shelling’s words we are like ‘whirlpools and ever transforming’. There can be no ego here. I remain ever hopeful that we as humans can collectively transform our mindset to better conserve and appreciate our planet’s enormous natural splendour and beauty.

Angus Taylor, born in Pretoria in 1970, is known for his powerful, often monumental, sculptural works made from materials from his immediate environment – Belfast granite, red jasper and the orange earth found near Johannesburg. Taylor’s craftsmanship, bold and visionary approach, and his original use of materials has resulted in many ambitious public and private commissions around the world and numerous solo and group shows. He is a graduate of the University of Pretoria, which awarded him an Alumni Laureate in 2005. Angus Taylor wanted his piece of the rhino mother to embody feelings of empathy and pathos, as if to say, ‘as we breath, we hope’. Text articulates the surface and creates another compositional and visual element of balance and play. He says “You can only hope that others, especially those chiefly responsible for taking care of our natural habitats, have the capacity and resources to help conserve this immensely valuable, pristine, timeless wonderland. You hope the awe of it all still captivates the average person, that it may be understood in its understated, though majestic existence.”