Page 176 - Bulletin 8 2004
P. 176

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                   It  too  was  exhibited  at  the  Royal  Academy  in  London  in  1931.  In  1935  she  was
                  commissioned by Mr. F. G. A. Roberts of Johannesburg to produce a swimming trophy to

                  be  awarded  to  the  winning  team  at  the  annual  inter-varsity  Diving  and  Swimming
                  Competition. This showed a mermaid sweeping across the face of a wave. (Figs. 4.11 &

                  4.12).


                  Although  executed  at  different  times over some 10  years,  The Spirits  of the Wind,  The

                  Crest of the Wave, and the Swimming Trophy are kindred pieces through their association
                  with wind and water, flowing energy, and perfect human form. (Fig. 4.13).


                  Moonflower is a beautiful piece in bronze of a girl poised in evening gown. It is the final

                  stage in a sequence that started with a drawing that became a cement form showing a young

                  girl offering up the lamp of truth. (Fig. 4.14).


                  Another  bronze,  exhibited  in  1933  at  the  Walker  Gallery,  Liverpool,  and  of  unknown

                  whereabouts, was called Thor or Thunderbolt. It was may have been a representation of the
                  idea in  a drawing titled  Windy Witch, and may  have been inspired by  memories of the

                  electric storms of her youth on the Highveld. (Figs. 4.15 & 4.16).


                  In  1929  Wynne  ventured  into  sculpture  in  marble  inspired  by  a  concept  embraced  by
                  Theosophy:  ‘The  Dweller  on  the  Threshold’.  The  Dweller  is  an  invisible,  possibly

                  malevolent presence, representing the sum-total of good and bad accumulated in past lives

                  and which has to be confronted in this life. Wynne’s marble Dweller, about two-and-a-half
                  feet high, towers over a young person who, awakening to the reality of what her life style

                  portends, tries to push it away. Moving from plaster to stone was a new experience: the
                  two-way process in plaster of adding on and taking off, and correcting mistakes, contrasts

                  with the one-way process in stone, of careful removal to reveal the form that is present in
                  the artist’s imagination and latent within the lump of stone. The process is one-way because

                  material once removed cannot be put back on, and so mistakes cannot be corrected.
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