Andries J. Botha
Contracting as:
Sunfox 43 CC T/A Brass CC
2003/077870/23
VAT Number: 4170209201
Postnet Suite 345
Private Bag X10
Musgrave, 4062
South Africa
Contact Administration Office: janinezagel7@gmail.com
CREATIVITY AND CONSERVATION
From 2008 to 2024, primary activity has been focused on building and affirming conservation resources and infrastructure within South Africa. I have, and remain of the opinion that artists need to play and have more of a direct role and function in one of the most pressing concerns of our contemporary lives. They have an enormous contribution to play in what is referred to as “our planet in crisis”.
It was one of the reasons why I began the Human Elephant Foundation https://humanelephant.org.za in 2008, building 30 elephants as creative metaphors to focus our need to pay attention to pressing ecological issues. I have developed this idea further, by moving moving more directly into nature conservation but still maintaining a creative presence. Creating alliances with conservation agencies like serving on the Board of Global While Lions Conservation Trust (https://whitelions.org/our-team/) as well as being a Founder and a serving member of the Human Elephant Foundation. I also have fertile working relationships with African Conservation Trust https://projectafrica.com and the Wilderness Leadership School https://www.wildernesstrails.org.za/about.
At the moment much energy is being poured into building the Loziba Wildlife Reserve (https://www.loziba.com/the-human-elephant-foundation/). The protection and acquiring of additional land in order to create a wildlife corridor that will connect South Africa into Africa and hopefully in the foreseeable future, assure the mobility and migration of animals as was traditionally the case.
2006 to 2024
30 life-size elephants were made (commissioned or donated by the artist) to be placed in various locations in South Africa and throughout the world
2008
Founded the Human Elephant Foundation
2011
Rock Star Lion, Global White Lions Protection Trust. To create a ceremonial point of reference directly linked to the sphinx in Giza (30 degrees South). It is interesting to see this site evolving into a destination for various shamanistic practices.
2012
Bronze Lion fundraiser. Sculpting a limited edition of bronzes to be used to raise resources as well as to be given to strategic decision makers who will influence and effect global conservation policy.
2019/20
The design, creating and building of a monumental ceremonial structure that affirms the idea that nature is a sentient presence and holds the idea of profound intelligence that needs to be acknowledged in order for us to develop a sense of departure as to how to co-exist with other created life-forms to insure the survival of humanity. The structure is consciously designed as an integral part of a larger landscape footprint that extends over at least 2 acres in close proximity to the structure.
2016
Ongoing Joined the Ammazulu Sculpture Garden Board https://www.ammazulupalace.com/contact-us.php to build an inner city wilderness precinct with a sculpture presence.
2020
Construction of a Memorial to honor the life of Beyers Coetzee who was killed by an elephant on the Loziba Wilderness Reserve.
2023
Design and collaborated with Eltina Stenhouse and Linda Tucker (CEO of the While Lions Conservation Trust) in the production of a ceremonial cloak to be worn at appropriate occasions.
2024
Continued discussions with the Wilderness Leadership School to build the Ian Player and Magqubu Ntombela Memorial (https://www.wildernesstrails.org.za/about) to be built in 2025.
2023/4
The relocation and establishing of the Mary Stainbank Museum at Milorho Lodge (https://www.milorholodge.co.za/sculpture-park/)
ABRIDGED CURRICULUM VITAE
Exhibitions
2024
Participation in the affirmation in the establishment of the Voices of Women, Virtual Museum (https://voicesofwomen.org.za)
2020
The establishing of Museum representing 40 years of sculpture at the Merrywinkle Estate, Kloof, Durban, South Africa
2019
“Being here (and there)”, Grande Provence Gallery, https://www.grandeprovence.co.za/blog/post/past-exhibition-being-here-and-there-by-andries-bo/ Franschhoek, Western Cape, South Africa
2014
“100”, Centenary Exhibition, Everard Read Gallery, South Africa, 14 November 2013-31 January 2014. Artwork: “Afrikaner circa 2014”, Acrylic on canvas, landscape in the manner of Pierneef; Material One; mild steel; 3D printed figure in Supawood; artificial landscape turf
2012
Museum Beelden aan Zee, Den Haag, Netherlands, “The Rainbow Nation”, From 29 May to 9 September 2012 on the Lange Voorhout and from 8 June to 30 September 2012 in Beelden aan Zee Museum.
2011
Circa on Jellicoe, Rosebank, Johannesburg, South Africa, one-man exhibition, “(IN)SOMNIUM)”
Group Exhibition: “The Horse”, Everard Reed Gallery, Johannesburg
“2011 Incheon Women Artists’ Biennale” – South Korea, Amazwi Abesifazane project
2010
Woordfees Artist, One man exhibition, Stellenbosch, South Africa
North American tour of Nomkhubulwane (elephant sculpture) including Chicago, F Fayetteville, Bozeman, El Paso, Detroit – USA and Juarez and Cuernavaca in Mexico.
2009
La Papalote Museum, Mexico City, Mexico
Wild9 – 9th World Wilderness Congress, Merida, Mexico
Animal-Anima, Provence, France
South Gallery, Cape Town, South Africa
KZNSA Gallery, Durban South Africa
Strydom Gallery, George, South Africa
Beauty and Pleasure, Stenersen Museum, Oslo, Norway
2008
Faculty Exhibition, KZNSA Gallery, Durban, South Africa
Workshop/Exhibition, Samata Lok Santhan, Gwalior, India
Travesia, Las Palmas de Gran Canaria
l’Homme est un Mystère #3, St. Brieuc, Côtes d’Armor, France
2007/9
You can buy my heart and my soul, Royal Museum for Central Africa, Tervuren, Belgium, October 2007 to June 2009
2007
You can buy my heart and my soul, Antwerp, Belgium.
2006
2006 Beaufort, Sculpture Triennale, De Panne and Ostend, Belgium
2005
Amazwi Abesifazane, William Benton Gallery, University of Connecticut, USA
2004
Africa Remix, Museum Kunst Palast, Düsseldorf, Germany
Amazwi Abesifazane, Betty Rymer Gallery, School of the Art
Institute of Chicago, Chicago, Illinois, USA
Amazwi Abesifazane, Culturgest, Lisbon, Portugal
2003
Attese: Biennale of Ceramics in Contemporary Art, Albisola, Italy
Amazwi Abesifazane, Africa Studie Sentrum, Leiden, The Netherlands
Amazwi Abesifazane, Imagine IC, Amsterdam, The Netherlands
2002
Vidarte 2002, Mexico City, Mexico
Global Priorities, New York, USA
Outpost II, US Art Gallery, Stellenbosch, South Africa
Amazwi Abesifazane, Prince Claus Fund, The Hague, The Netherlands,
2001
Freehouse Project, Rotterdam, Netherlands
Nature, Utopia and Realities: Orsorio, Grand Canarias
Memorias: Santander, Spain
Amazwi Abesifazane, World Conference Against Racism, South Africa
Amazwi Abesifazane, Durban Art Gallery, South Africa
2000
Area 2000: Reykjavik Art Museum, Iceland
L’Afrique a Jour: Lille, France
Bonnefanten Museum, Maastricht, Holland
Dakart 2000 Biennale, Senegal, Africa
Amazwi Abesifazane – Voices of Women, African Art Center, South Africa
1999
Galerie Paul Andriesse, Amsterdam
1998
Kasselkunstverrein: Kassel, Germany
Kulturtogbet Solvberget,Stavanger, Norway
Four Seasons – National Architectural Institute, Rotterdam
1997
Johannesburg Biennale, South Africa
Samtidskunst: Fra Sor Afrika, Oslo, Norway
1996
The Other Journey: Africa and the Diaspora, Kunsthalle Krems, Vienna
Containers Across the Ocean, Copenhagen
Cris Fertiles Unesco, Abidjan
1995
Cris Fertiles Unesco, Cotonou
Transitions: Bath Festival – United Kingdom
1994
South African Contemporary Art, Paris, France
Southern Cross – Stedelijke Museum, Amsterdam, Netherlands
1993
Venice Biennale, Italy
Public Commissions
2024
Restoration of Mary Stainbank sculptures for Mary Stainbank Museum
2016-2024
Various indoor and outdoor sculptures and two dimensional artworks, Regent Business School, Durban, South Africa
2021/22
Theresa Majola memorial sculpture
2021
Restoration of Peter Schutz artwork: “Rickshaw” for Durban Art Gallery
2020
Beyers Naude Memorial
2020
Global White Lion Protection Trust – construction of a sculptural precinct, Timbavati, South Africa
2018
Meerkat Sculpture, Corruseal, South Africa
2013/14
State Commission for six 2m tall bronze figures.
2011
Sculptural installation of Rev John Dube for Dube Tradeport in Durban, South Africa
2011 Global White Lion Protection Trust – Rock Star Lion, Timbavati, South Africa
2009
Three elephant sculptural installation, City of Durban, KwaZulu-Natal, South Africa
King Shaka Sculptural Installation, King Shaka Airport, Durban, KwaZulu-Natal, South Africa.
2008
“Lux Themba”, Family Memorial, Amsterdam, Netherlands
2006
Award design and manufacture: 27th Durban International Film Festival
2004/6
Ohlange Memorial Park – ANC Memorial, Durban, KwaZulu-Natal, South Africa – 5 larger-than-life bronze figures
2004/9
Gandhi Foundation Awards
2003
Shembe Memorial, Durban, KwaZulu-Natal, South Africa
2001
Sculpture Commission, Vodacom, Cape Town, South Africa
2000
Rijksakedemie Voor Volkenkunde, Leiden, Holland
1999
Sculpture Commission, M.T.N., Johannesburg, South Africa
1997
Sculpture Commission, Hilton Hotel, Durban, South Africa
1996
Sculpture Commission, Durban Girl’s College, South Africa
1993
Sculpture Commission, Standard Bank, Johannesburg, South Africa
1992
Sculpture Commission, Johannesburg Art Gallery, South Africa
Teaching Experience
1982-2015
Senior Lecturer, Sculpture, Durban University of Technology, Durban, South Africa
Artist’s Statement
Making artworks in South Africa is a long shot. It is slow, it is difficult and it is mostly ignored. But, if you are looking for something to say that is important, about who you are, then I suggest that you emigrate here. There is a lot going on.
It will always be and remain for me a place of introspection: looking, feeling, being confused, being desperate, trying to find a language that explains things that you can’t understand, remaining lost in a place that actually does not have a terms of reference. That is because it is constantly being recreated. I am a part of a migrant people, of many colors, moving in and out of sacred and profane spaces, occupying, owning things, whether we buy them or steal them. When we finally stop doing this, we will understand that diasporic actually means confusion. As a humanity, in Africa or Europe, we continue to occupy space by deliberate bloodshed. We think, I think, we are somehow remarkable but our contemporanity is actually unimpressive. That is how I see being human is and our greater and lesser moments of humanity are defined by crude and brutal collisions where desire, appropriation, is actually power that is locked in our closet and in that dark place it finally becomes an historical narrative. It keeps telling us that we are far better than what we actually are.
We are, after all, from the tip of Africa. All of us. We left it barely human and so many, many years later we migrated back to it, almost inhuman. I am once again a European on the tip of Africa trying to understand what it is like to be African. To be fair to myself, I am banished now from an European ancestry and set adrift as some form of punishment to again shape colonies, conquer new places and leave behind a wounded world which, at best, keeps referring to a broken and maimed history for which I am to be held eternally responsible.
This small, little damaged fragment of emotional space, is now also called South Africa. It is no point of me seeing it as anything else more elegant, even when I sing my new beautiful national anthem.
This narrative is formed as a discarded piece of intellectual property, it is the emotional space that I have occupied as a young South African boy, half European, almost African, discredited to be called “Botha”, a mantra, part of the architecture of a voice that has framed so much suffering that I have finally got old of it. There is a Botha under every rock, every stone, it is the Botha voice that is carried in the wind and I became another octave in the larger instrument that tried to make it audible to all of those who actually did not give a shit.
In retrospect, I lost my ability to speak with any voice. I saw how other humans scratching in the sand, they drew on cave walls and shaped rocks into sentences that made much more sense to me. For me it was a clear decision that probably saved my life to learn how to speak in another language and then everything in Africa started to make sense of not being allowed to go back to Europe.
It was this land and everything in it that now began to make so much more sense to me. However much I tried to read about the Enlightenment and the Renaissance, I realized I was more empassioned by the color of a glass bead and the dance of winter grass in a not so cold South African landscape. I guess everybody has a reason for finding a home, somewhere. This is how I knew that I was South African, bonded to the mountain landscapes and the places where I managed to survive my youth, where I ran wild, became free and understood, slowly, what happy meant.
Somehow, I managed to get to university, the place where I could learn how to become an artist, not really realizing that at some stage I would have to unlearn all of it to become an artist. Intelligence was something I found in a book as I did not have it, but beauty was something I saw as creativity that danced with an entire hillside of winter yellow golden grass in the winter’s wind, not so far from where I lived. It was in these mountains that I found the answers that I was looking for as an artist, those that lay hidden and encoded within the breathtaking South African landscape without all its misshapen people. These grasses became the materials from which I could make sculptures, that spoke to me in a way that a Michelangelo spoke to me when I was so much younger. Pictures I found in a coffee table book.
As I got a little older, I could see the relationship between the devastating beauty of land, the terrible consequences that land had on all the people that were marooned on this sand. I also realized that the mesmerizing pathos was not dissimilar to the sadness of the impermanence of the beauty that is now the fading Koi San cave paintings, of the impermanence, that would ultimately survive only in my memory.
Transition and impermanence is a much more delicate nuance to understand life, rather than that which boldly proclaim heroism and monumentality to be. It is also more preferable to live within a history that is constantly discredited, almost as if that narrative understands that we worship at the altar of words that after all are only convenient lies in this very moment.
I accept that there is a vibrancy and power in understanding the beauty of impermanence, time captured and then released momentarily. Then it becomes something completely different in the next moment. I do not carry my own sculptures around with me, those too will become impermanent. Those marks that remain on a hard rock surface. Here there are no museums that think or create a place of safety for the things you love, which I believed would be the final resting place for those things human beings have made and thought were important.
I knew that this time around my great teacher was not to a book but rather a journey, a journey in and through South African land. I knew that my university training, as elegant as it was, would almost endow me in a dangerous way with the belief, the illusion that I could believe in things that had happened somewhere else and not here. That other place taught me how important works of art, creativity were as a record of the human condition. I had often wondered why I was in a place making art that did exactly the opposite. It has also taken a long time for me to realize how liberating it actually is, not to make artworks because they are important to the human condition but rather to understand them simply as something that you do for yourself, something you really have to do to stay alive.
So at the end of all of this, all the hubris around metaphor, concept, the architecture of aesthetics, you are on a much more visceral, basic journey. You are just simply doing something that keeps you alive. Without it there would not really be a big enough reason to explain why you are here. This truth is difficult to teach to young artists who see art as a career with job opportunities and subsequent sex appeal. I am grateful that South Africa with all its sobering tendencies has taught me that I am at peace with all of this.
Andries Botha – 14 November 2024