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Healthy Hypnosis: The Simple Truth and Practical Use shines a bright light on this empowering technique, helping to educate readers on the amazing potential offered by this peaceful process. Product Details. Average Review. Write a Review. Related Searches. Across the Bridge: Art and Power. It is continued outside to separate two areas of a terrace open to the sky. Skotnes used a technique of coloured cement laid into lime plaster. The wall is covered with a layer of plaster, and, while it is still damp, the design is cut into it. The colour in this case black is trowelled into the cut-out spaces.

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The excess colour is scraped away leaving a crisp line drawing somewhat reminiscent, Skotnes says, of Japanese woodcuts on mulberry paper. The artist used the technique to make several more murals in the same year.

The designs are less severe than in the Turgell mural, showing a greater confidence which allows light-hearted humour to infuse the images as vivacious hominoid figures displace the earlier vegetation. More commissions for murals followed. In Skotnes fell into a lyrical mood, inspired no doubt by the garden in which he worked, when he embellished an exterior wall of a private residence in Observatory, Johannesburg. He incorporated the shapes of the succulent plants, the lines of the foliage and vines, the patterns of the flowers, and echoed the shadows cast by the branches of a spreading tree nearby.

In the same year he adapted the inlaid cement technique to suit an exterior setting exposed to full sunlight for a three-storey high mural on the entrance facade of the Technical High School in Pretoria Gardens. The environment is harsh, dusty and blustery. He therefore created a design that resembles a wind devil reeling over the wide expanse of veld. The deeply gouged lines are not filled in with black plaster as in the other murals.

The drawing is therefore grey, not black, and, during the course of the day, the image and quality of the colour change as the shadows and highlights shift according to the position of the sun and, on some days, the random vagaries of cloud. In about , inspired by weathered primeval rocks and sunbaked earth, Skotnes turned to drawing and oil painting once more and made a series entitled Rock Faces shown at the Egan Guenther Gallery, Johannesburg, in In these works Skotnes used colour evocatively.

The surfaces glow with reds, yellows and ochres which are set against dark browns tinged with earth greens. A mysterious world seems to open up before the viewer, who is led into deep caverns of subconsciousness.

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It is in such places that religions are born. Like the others, The Legend is an impression of a rock face. As in the real rock faces of our krantses it seems to teem with apparitions and phantoms that recall cities with tall buildings. These may metamorphose into the beings who populate such places and they, in turn, become symbols of our spirit and intellect. He had discovered Baumeister a German painter, when he visited Egan Guenther in Johannesburg for the first time in Athough at that stage he could not explain the elusive attraction it held for him, he immediately felt a profound affinity for it.

Only later, after he had read his life story, 12 did Skotnes realise how great his indebtedness to Baumeister had been. As Skotnes painted his landscapes, recreating, as he said, the scenery as he saw it, his empathy with humanity and his awareness of metaphysical powers began to modify his iconography. Memories of the carnage of the Italian battlefields did not fade.

He saw a similar quest in all art, whether classical Greek or African, Byzantine, medieval, Renaissance or modern. As time went on this preoccupation led him to analyse the essence of humanity through extensive reading about historic martyrs, heroes, rulers, councillors and delegates, all of whom had devoted their lives to the upliftment of humankind. These personages became for him archetypes of the human race and its intellectual and spiritual potential. In , when he had a solo exhibition at the Grosvenor Gallery in London, one of the reviewers drew attention to this mysticism:.

The figures in the Martyr series have about them a religious quality, not in an ecclesiastical sense, but portraying an underlying spirituality in Man, in all Mankind. Skotnes declares that his ideas flow from his brain to his hand. Therefore he may ponder with a pencil, chalk or gouging tool without first verbalising his concepts.


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This process can be seen, for instance, in a collection of small wood engravings which he made in These are universal concerns over which human beings have cogitated through the ages. From a series of 22 woodcuts. Confrontation between good and evil is a major theme. This may be depicted symbolically with colour or form, or personified by antagonists. In No. In other examples the confrontation may be between a male and a female, or a warrior and his enemy. The outcome of such a meeting can be problematical: is it glorious or degrading?

Skotnes mulls over this in No. It was not the first, nor would it be the last time that he wrestled with the concept. A centrally placed figure, with blazing eyes, bears the image of the Crucifixion on its chest. The meaning is ambiguous: at first glance theimage may be interpreted as Christ crucified with the two thieves on either side.

But when one realizes that the image of Christ is carried on the chest of what looks like a pugilist, the interpretation is adjusted to recognize a warrior for Christ. The hanged victims may be his, but they could also be those whom he tried in vain to save. It compels the viewer, like the artist to ruminate over the complexity of the human dilemma, particularly on a personal spiritual level. Arcane icons and heads appear in the wood engravings too.

Some of these are given identities, such as Christ who is seen in No. Anguish and pain, the result of ruthless cruelty of one being to another, are paramount in these images. But an ecstacy of subliminal triumph is shown too; a transition from the conscious human experience to an unknown eternal exaltation.

Not all encounters, however, are confrontational. The human being can be in partnership with others and serve the community. Such beings can be recognized as mortal, with human foibles and humour, or, not infrequently, they appear to be incarnations in a metaphysical setting. I discovered a visual idiom in the indigenous art of Africa , the masks and woodcarving of the tribesmen, which was for me a direct expression of the African environment.

Skotnes read widely on the subject, and as soon as he could afford to do so, began to collect African artefacts that originated in various parts of the continent. As his knowledge deepened, the collective forms of African art became an important influence on his style.

The skull of a hero - atelundehe.tk

He always acknowledged this source and recognised its diversity, but the various styles of greater Africa were melded together in his mind and imbued, too, with memories of his European heritage. He also drew inspiration from much earlier, more universal sources. A primeval aspect attracted him to the art of the ancient Egyptian, Babylonian, Assyrian and Greek cultures.