Welgemeend August Art Month - 2019

6 Hodgins gebruik kleur op ’n ongewone en dramatiese manier, beide wat skakering en aanwending aanbetref. Daar is vir my ’n vryheid en uitbundigheid in sy kleurgebruik wat spreek oor sy liefde vir verf en kleur opsigself, ’n interessant samemenging van spontaniteit en struktuur. Figure word dikwels nie in groot besonderhede afgebeeld nie, maar tog, uit hul houding, tipering, plasing en kleredrag word die rol wat die persoon in die skildery vertolk, duidelik. Pinker se werke is vir my baie akademies en gesofistikeerd van aard met ’n meer subtiele maar baie harmonieuse gebruik van kleur en komposisie. Elke werk vertel ’n storie, dikwels ’n baie komplekse een wat meer vrae vra as antwoord. Die herhalende gebruik van sekere simbole (soos die vorige landsvlag en die protea) en motiewe gee ’n aanduiding van sy spottende kommentaar op die sosiale en politieke orde in Suid Afrika. Die werke is altyd weldeurdag, beredeneerd en tegnies fyn uitgewerk, anders as die meer spontane aanslag wat ek by Hodgins ondervind. Die werke van Alexander Podlashuc, kom minder subtiel as die van Pinker en Hodgins voor. Kleur en komposisie word met dramatiese effek gebruik, soms op ’n wyse wat die kyker eerder konfronteer as naderlok. Hy gebruik baie simbole en ongewone vertrekspunte om sy boodskap effektief en interessant oor te dra, meestal met ‘n baie satiriese ondertoon. Sy gebruik van die ridder, sirkus, mallemeulens en diere om ’n subversiewe boodskap oor te dra, geniet ek baie. Predikante en priesters is ook gereeld onder skoot, enigeen wat teenoor ander uit ’n gewaande posisie van gesag optree, ’n teiken vir bespotting. Marianne Podlashuc, daarenteen, lewer sterk sosiale kommentaar op ’n baie meer direkte manier met die klem wat op ironie eerder as sarkasme val. Haar empatie met haar medemens, veral die wat onder apartheid gely het, is deurgans merkbaar. Die twee werke van haar wat by die uitstalling ingesluit is, het beide ’n satiriese aanslag. Something that all these artists have in common, other than that the titles of their works are key to the understanding thereof, is that market recognition came to them relatively late in life. Although they enjoyed the respect of their peers in their lifetimes and held several critically acclaimed exhibitions amongst them, only Hodgins enjoyed significant financial success and only in the last quarter of his life. In the case of Pinker and Hodgins, that situation has changed immensely in recent years with works becoming highly collectible and prices achieved on auction often exceeding the R1 million mark. Hopefully, this exhibition will lead to a re-valuation of the works of the Podlashucs. It is interesting to note that Pinker, Hodgins and Podlashuc were all involved in art education and studied in London in the early 1950s. Presenting their works together might enable us to recognize some common trends and subject matter and better understand the 40-year period in which they were most productive, i.e 1960 – early 2000s. To spice things up a bit, we have included a few works by contemporary satirical artists, Brett Murray and Richard Mudariki, which should prove that the satirical tradition in South Africa is alive and kicking! In line with our tradition of highlighting the works of underrated or forgotten artists, we have also included a selection of evocative sculptures by Peter Haden. To enjoy art is to share art. This exhibition is the result of a happy collaboration between artists, their families, galleries and collectors. It was such a pleasure to work with Jonathan and Marion Bloch who share our passion for the works of Robert Hodgins and also believe in making art fun and accessible to others. It was great to meet Leo and Erin Podlashuc, who shared wonderful stories about Pod and Marianne and generously gave us access to a treasure trove of their works. The commentary provided by Leo on Pods’ key works will undoubtedly decode the works to everyone’s delight. Much thanks goes to Caro Wiese for parting temporarily with her beloved Pinkers, as well as to the other Pinker and Hodgins collectors who lent us their works. I have come to realise that Pinker’s works are not only scarce, but deeply treasured by the people fortunate enough to own them. Thank you to our contributors for sharing their insight so generously, Deon Viljoen wrote an elucidating piece on Pinker’s magnificently complex Marinetti’ , Neil Dundas shared his deep understanding and admiration for Hodgins in a thought-provoking essay and Hayden Proud shared with us key recollections and insights, having been a close friend and admirer of the Podlashucs for many years. Lastly, a heartfelt thanks to the wonderful Welgemeend Art Month project committee for their passion and dedication in making this a memorable and sustainable annual event. Without Lizelle, Helena, Hanneli, Margaret, Hendrik, Maria, Marysia, Tanja, Karen, Bina, Mia, Matthew, Faye, Strauss & Co, Delaire Graff, Everard Read and the Friends of Welgemeend we would be listening to the wind in August, rather than painting with paintings! Frank Kilbourn Vision (detail) See page 27