Notes

“Die eerste keer wat ek van Helmut Starcke se werk kennis geneem het, was toe ek ’n foto van sy skildery Burning Bush gesien het. Hy het dit in 1983 geskilder en dis in die Sasol versameling opgeneem. Dis ’n welige strelitzia plant waarvan die blomme ook as vlamme gesien kan word. Ook is daar vlamme om die stingels sigbaar. Dit verwys na die brandende doringbos van die Bybelse Exodus 3 verse 3-4, waar God Moses ontmoet en aansê om die Israeliete uit Egipte te lei na ’n land wat oorloop van melk en heuning. Starcke se kommentaar daarop, soos gepubliseer in ’n artikel deur dr. Leoni Schmidt (begaafde kunsgeskiedkundige wat ongelukkig lank gelede reeds na Nieu-Seeland verkas het. Toe ek laas gehoor het, was sy Hoof van die Dunedin School of Art). In die artikel in Lantern van Mei 1989, haal Schmidt vir Starcke aan:

‘The more I learn about man’s tireless abuse of nature, the less I am interested in ‘the human condition’ as subject matter. For some time I have felt more and more compelled to create images celebrating the life force, as well as order in nature, speaking of such things as fresh air, clear water, cool grass and white clouds, etc, but also of the mystery as well as the logic – all of which we perceive as beauty. Consequently, instead of showing more pollution, destruction, disease and famine, images such as the Burning Bush take an almost nostalgic backward look (or is it forward to a time after man?) at what we have lost. In this frame of mind the emotive biblical symbol became inevitable, and with the strelitzia “flames’ in ‘superior order, an image of mystery, supernature triumphant.’

Ons Handsome Alien gee vir my, 25 jaar later, dieselfde boodskap (maar dringender) van die gevare wat die mens, as die gevaarlikste indringer, vir die skepping inhou. Die turksvy uit Suid-Amerika, vervang die inheemse Strelitzia. Ek is versot op turksvye. En van Suid-Amerika, wat my Bonsmaras vir my oopgemaak het, het ek net die aangenaamste herinneringe.”

“The first time I became aware of Helmut Starcke’s work was when I saw a photograph of his painting Burning Bush. He painted it in 1983 and it was subsequently included in the Sasol collection. It’s a lush strelitzia plant whose flowers can also be seen as flames. Flames are also visible around the stems. This refers to the burning thorn bush of the biblical Exodus 3, verses 3-4, where God meets Moses and tells him to lead the Israelites out of Egypt to a land overflowing with milk and honey. Starcke’s comments on it, as published in an article by Dr Leoni Schmidt (gifted art historian who sadly moved to New Zealand a long time ago. When I last heard she was Head of the Dunedin School of Art). In the May 1989 Lantern article, Schmidt quotes Starcke:

‘The more I learn about man’s tireless abuse of nature, the less I am interested in ‘the human condition’ as subject matter. For some time I have felt more and more compelled to create images celebrating the life force, as well as order in nature, speaking of such things as fresh air, clear water, cool grass and white clouds, etc., but also of the mystery as well as the logic – all of which we perceive as beauty. Consequently, instead of showing more pollution, destruction, disease and famine, images such as the Burning Bush take an almost nostalgic backward look
(or is it forward to a time after man?) at what we have lost. In this frame of mind the emotive biblical symbol became inevitable, and with the strelitzia ‘flames’ in ‘superior order, an image of mystery, supernature triumphant.’

Our Handsome Alien gives me, 25 years later, the same message (but more urgent) of the dangers that man, as the most dangerous intruder, poses to creation. The prickly pear from South America replaces the native Strelitzia. I am obsessed with prickly pears. And of South America, which opened Bonsmaras to me, I have only the most pleasant memories.” —Dr Matthys J Strydom, 2021

Provenance

Dr Matthys Johannes Strydom Family Collection.

Literature

Matthys Strydom (2021) Nog Stories Teen My Muur, George: LW Hiemstra Trust, illustrated in colour on page 178.