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Fantastic,
visionary, almost life-sized, they
assembled in and around the house
like a gigantic army. Figures from
a nativity scene, figures from folk
tales, animated poetry, single goddesses-house
and garden were transformed into a
personal universe. Walls, windows,
doors and tables were covered with
mirrors and lanterns, becoming an
aviary for owls with headlight eyes.
The Bible, the Rubaiyat of Omar Khayam,
the poetry of William Blake, Eastern
religions and the heavenly bodies
were inspiration.
South
African writer David Bristow, who
studied Helen Martin's life and
work, documented the change from her
early crude work to a “technically
and artistically superb style.”
He described this as “the naïveté
and freshness of a child coupled with
the consciousness of
an artist... a spiritual transcending...
vision coupled with creative drive”
saying that it marked her as “one
of South Africa's true artistic
geniuses.”
Critics
describing Martin's work quote
Jean Dubuffet's definition of
“art brut”: originality
and rugged individualism thriving
in places other than those socially
assigned to “the fine arts”
and largely untouched by cultural
influences. Another South African
art authority, Esme Berman, said the
house, now called “Owl House,”
looks “spectacular,” and
is important both as art and folk
culture. South African art critic
Robert Brooks said it provided one
of the most stirring experiences of
his life, “like Gaudi.”
Playwright Anthony Fugard wrote “The
Road to Mecca” inspired
by Helen's life and work. He describes
the collective impact of the work
as captivating, a “stream of
consciousness in concrete.”
Anne
Emslie and Sue Imrie Ross, two South
African art scholars and authors made
Helen's life and work the subject
of their doctoral thesis. Emslie's
books “The Owl House”
and “A Journey Through
the Owl House” and Ross's
book “This Is My World”
are illuminating with stunning color
photographs. Ross' book was published
a year after her untimely death from
lung cancer in 1996.
In
1975, her home and garden were filled
with work, and Helen seemed to feel
her life's purpose was complete.
She committed suicide. She drank caustic
soda and died after three days in
solitary agony. Her will included
complex instructions listing in detail
the ritual disposal of each of her
sculptures. But today the Owl House,
nestled at the foot of the Kompasberg
Mountains, has been proclaimed a national
monument, and is one of the finest
examples of Outsider Art in the world.
Each year up to 12,000 people from
around the globe make a pilgrimage
to the Owl House and Camel Yard. Those
that have visited Helen's home
cannot but be deeply touched by the
enchanted world she created.
Niki
Collins-Queen is the author of “Earth,
the Forgotten Temple: A Spirit Quest
in the Wilderness.” She can
be reached at bnqueen72@hotmail.com.
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