FINE ART & SCULPTURE
Having worked with her hands as a ceramist and believing that form and line are highly expressive art principles, Magda was naturally drawn to sculpture. Her wax, resin and sheepskin sculptures focus on the hybridization between the innocent and the experienced, between the conventional and the macabre.
The historical and archaic content is starkly juxtaposed with the pressing socio economic issues that are prevalent in South Africa today. Each interlinking circle symbolizes an aspect of an often gruesome, violent and perpetually corrupt state of existence. The bloodlines serve to connect and create a collaborative idea. The foreboding red sky expresses a threatening tone and the silhouette of a crow is an omen for the dark outcome if change is not implemented.
The relevance of the nurse is to illustrate old wounds, hurt and anguish that are in the metaphase of healing and redemption. The red face symbolizes an outcry for help. This person is an embodiment of the helplessness of the innocent and their pain. The fly represents decay and the macabre nature of morals and ethics. The bound woman is a graphic reminder of the rape, defilement, plunder and rapid depletion of our country’s natural resources and environments. She is bound with the sense of despair and imminent realization of her own mortality. The cross epitomizes all the lives lost due to brutal farm murders. The Kruger coin embodies the concept of greed and gluttony. The rose signifies hope, regrowth and denotes a foreseeably positive future.
Lament of the Madonna
This painting pays tribute to women across the world who have been wronged, be it physical or emotional trauma. The vase with Madonna as the flower, is depicted on top of a grave.
Excerpt from an article posted by News 24: On 12 December 2014 a woman was walking along the N18 near Bloemfontein to pick her sister up from school. A car with 3 men stopped and forced her at knifepoint into a nearby veld. They removed her clothes, tied her to a tree and took turns to repeatedly rape her.
Her early works focused mainly on production, and thus fell into the commercialised aesthetic category. Moving past this, she found her own voice by treating the surface of whatever she was creating as a canvas, on which her thoughts and feelings are projected. Magda is inspired by her heritage, utilising where she comes from to clarify where she’s going. She has also come to critically engage with the astounding levels of violence and political scandals that are crippling South Africa. Through the juxtaposition of elements that speak of tranquillity and love with death and corruption, she tries to process the conflicting sense of belonging and rejection of a South African identity.