Page 145 - Bulletin 13 2009
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using marble “gives his work an exciting almost geological texture”, noted a critic. “Mr
Ladan has acquired a mastery of his own methods of working.”
Arising from this exhibition one of his pieces, a composition in greens and browns, entitled
“Inside Deeper”, was selected as one of the South African entries at the Venice Biennale in
1964. This was a singular honour as the Biennale was the premier international art
exhibition, and there was a certain amount of jealous comment from some members of the
art establishment. But the art critic observed: “……. Edouard Ladan has been hovering on
the fringes of recognition for some time.” He attended the Biennale, enjoying the company
of an array of international art personalities, and then travelled more widely in Europe
studying contemporary trends in European art. This convinced him that “the brush and
palette” approach to art was obsolete. Art had to keep pace with technological change
embracing new materials and methods. He discovered the metal work of a master, Kemeny,
and the nail reliefs of Gunther Vecker and returned home determined to explore these
media – which were familiar to him from his engineering experience. He set to work in the
garage at Schoonzicht.
His first solo Cape Town exhibition took place in September 1965 at the Wolpe Gallery,
but it was too early for his nail work. He exhibited ‘found objects’, monotypes, and mixed
media. Critics gave the work mixed reviews in moderated language, but Professor Neville
Dubow of the Michaelis School of Fine Art was scathing and his remarks would not have
endeared him to Eddie. While his monotypes were once again praised his assemblages of
‘found objects’, such as ‘Birth of Venus’ (Fig. 3.30) were felt to be “crude” and
“insufficiently integrated into the fabric of the composition”. His mixed media
compositions, such as ‘Genesis’, (Fig. 3.31) were “prey to the lure of the over-obvious
symbol”. To quote from Dubow’s review in the Argus of 14 September:
