Page 167 - KBHA BULLETIN 8

164

Wynholme. (Fig. 4.2). Its bottom floor contained her studio in which she was to do much of
her work, while from the upper floors there were panoramic views over False Bay and its

onrushing sea, winds, and cloud formations, as well as fine views of the surrounding
mountains – all sources of inspiration to her. The garden was laid out as a series of terraces

on the steep slope, and with the passage of time the rough hillside was transformed into an

enchanted place in which she perceived the presence of nature spirits.

All the requirements for successful artistic endeavour were now in place: she had time,
peace of mind, and a studio with the necessary equipment; she had know-how – this she

was born with and so she attended no art school, sat no exams, and acquired no formal
qualifications - Theosophists would say that her inherent talent was the product of

experiences accumulated during her past lives; and, she had inspirations that drew from the

forms of visible Nature, the inner life-forces of invisible Nature expressed in spiritual form
as angels, fairies, elves, goblins, sylphs and many others, and the beauty and perfection of

the human body at rest and in motion – a source of inspiration to artists since time

immemorial. In many of her works she fused all three elements of her inspiration with
remarkable results.

With everything in place there followed roughly two decades creative outburst.

The years of creative outburst: 1923 - 1941

Wynne’s forte was sculpture and there was always a piece underway in plaster or stone or
cement. At the same time she was drawing, sketching, painting, and writing poetry and

fantasies. Everything she did was done for the sheer enjoyment of it, but many items were
produced to be sold, while others were the result of commissions. So her sculpture and

painting also provided her with a source of income.

Her sculpture can be divided into three categories: exhibited works, sculpture for the