ANNA STONE

ANNA STONE: PRINCE ALBERT ICONS IN SOFT POWDER PASTEL

Words by Elza Miles www.princealbertgallery.co.za

Above: Joanna walking in Mark Street, Pastel on cotton, 62cm x 36,5cm. Opposite Page: Rosiland Botes, Soft Pastel on Cotton, 56cm x 720

Dorothy Kay (1886-1964), the doyen of Port Elizabeth artists, observed: “Whatever you do, it is a portrait of yourself”. This too applies to the writer of this text.

Anna Stone always knew that she wanted to be an artist. She grew up in Kuruman where she was born in 1971, matriculated in Johannesburg at the Art School, Hoërskool Die Kruin, and furthered her studies in Pretoria at the Technikon (Tswana Technicon) where after acquiring the National Diploma she gained the National Higher Diploma in BA Fine Arts.

Stone engages with her Prince Albert icons the moment she applies pastels on cotton. Every step of this engagement involves her: the preparation of the cotton acquired in Knysna that supports the image that evolves from the application of her pastels until the image responds and engages with her and subsequently the viewer. When the heavy curtains of Sunday Afternoon, Prince Albert are drawn the stage is ready: the performance starts. Joanna, Mark Straat takes the stage. She in her polo neck jersey is portrayed in the profile. Her smashingly vibrant personality is counteracted by another profile, the Volkswagen further back to the right. Both profiles are offset by the greenery of the foliage above the Beetle and further back. Somehow the car seems to be waiting for the girl: she, an imaginary Cinderella, is to slip into and drive away with her dream prince.

Then the scene moves to Nieuwe Straat, Jannie and Rosalind appear. Jannie sits in the kitchen and stares in front of him. Both his hands are nestled on the curve of his walkingstick. His stool is in front of their electric stove on which two sauce pans are visible. He seems hemmed in by the stove, the diagonal of the table on the left and the curtain on the right.

Above: Gawie Nel, Deurdrift Street, 64cm x 39cm. Opposite Page: Ansie Van Wyk, soft pastel on cotton, 60,5 x 120

Above: Hendrik in Pastorie Street, pastel on cotton, 41cm x41cm Left: Abraham Mars, Pastel on cotton, 31cm x 40,5cm

Boy at the Market, soft pastel on cotton, 50,5cm x 41cm

In Rosalind, Church House the icon sits on a bentwood chair and purring in front of her is a Siamese cat: guardian of marriages. Just as her blue eyes behind the glasses find repetition in the bright blue eyes of the cat so the white delineation of the floral design of her dress is echoed in her grey hair and the white fur of the cat. Rosalind and cat sort of frame the exterior showing a huge blue gum in front of the Dutch Reformed Missionary Church. The trunk and branches soaring heavenwards echo the two diagonals further back on the right inviting you to enter the church.

Now enters Ansie van Wyk, Nieuwe Street balancing a huge shopping bag on her head. She secures it with her left hand and from her arm dangles fruit in a plastic bag. Apart from this baggage she carries in her right hand a pot plant. Her rose coloured top is complemented by the deep green foliage of the Euphorbia behind her, emphasising sacred womanhood. Now Gawie Nel, Deurdriftstraat appears. He is a gardener, a man blessed with green fingers. He always, with an encompassing smile, assures you of his well being. Yet now without that endearing smile he is troubled. He halts at cross roads and a stop sign cautions him. The colourful patchwork cloak that is synonymous with the Jan Schoeman (Outa Lappies) outfit has changed. A simple cloak, ranging in tones of blue, mauve and crimson covers his shoulders. The only reminder of his familiar outfit is his cap. Visible in the sky above his head is a windpump that takes on the significance of the wheel of life. Jan Schoeman responds to the call from below left and he moves into eternal light.