| |||||||||||||||||||
 |
 |
 |
|
 |
|
 |
|
 |
|
 |
|
 |
|
 |
|
 |
|
| |
| |||||||||||||||||||
| | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
| | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
|
|
|
| |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
    |
|
The Owl House Helen Martins lay ill in bed one night, with the moon shining in through the window, and considered how dull and grey her life had become. She resolved, there and then, that she would strive to bring light and colour into her life. That simple decision, to embellish her environment, was to grow into an obsessive urge to express her deepest feelings, her dreams and her desires. It is not known in what order the work was accomplished, other than the fact that the interior of the house was virtually completed before the exterior was begun. There was no overall plan, but what began as a decorative quest for light and colour soon developed into a fascination with the interplay of reflection and space, of light and dark and different hues. From the mundane articles that surrounded her, Miss Helen extracted and manipulated an emblematic language of sun-faces, owls and other images. This is all set against a luminous backdrop of walls and ceilings coated with elaborate patterns of crushed glass imbedded in bands of brightly coloured paint. It was only when the interior of the house was virtually completed, that Helen Martins applied her imagination to the world beyond her door. She was particularly inspired by biblical texts, the poetry of Omar Khayyam, and the works of William Blake. Over a period of about twelve years, she and Koos Malgas created from her imaginings the hundreds of sculptures and relief figures that crowd the 'Camel Yard' and cover the walls of the house. Her favourite animals, owls and camels, predominate, but all manner of real and fantastical beings are to be found. A procession of shepherds and wise men lead a vast, almost life-size camel train toward an 'East' as designated by Helen Martins, and integrates Christianity with her fascination for the Orient. The arched entranceway from the street, watched over by a stoic double-faced owl, is significantly barricaded by a tall mesh fence and a stand of tall Queen-of-the-Night cacti. Like the elaborately bottle-skirted hostesses within the yard, this arch must have been intended to welcome the visitor into her 'world', but the fence speaks plainly of an increasingly troubled relationship between Helen Martins and the outside world.
Read more about Helen Martins >>
Selected Bibliography:
Publications:
Beardsley, J. 1995. Gardens of Revelation. New York: Abbeville Press.
* These books are available from the Owl House Foundation.
Periodicals:
Davies, D A C. 1991. The Owl House,. Cathay Pacific Discovery, June,
Vol.19,
6:86-94 |
| |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||