The misfortunes and wonders of Wopko Jensma
“I hope to live until the age of sixty
I hope to leave evidence
that I lived in this world
that I felt my situation
that I created something
out of my situation
out of my life
that I lived
as a human
Excerpt from “Spanner in the what?” Works â- Wopko Jensma
In 1993, artist, writer and poet Wopko Jensma left his home, then the Salvation Army Men’s Home in downtown Johannesburg and never returned. It was also the last time he was seen; no remains or bodies were ever found.
Jensma was 54 years old, six years from his “goal” of sixty, which he mentions in the poem “Spanner in the What?” Works. âHis disappearance remains one of the most puzzling mysteries of South Africa, which at the end of its life lost its creative identity and its ability to write or create art.
Although not as well-known as his peers such as Breyten Breytenbach or Walter Battiss, Jensma is considered one of South Africa’s multi-faceted creative forces. He worked in several visual mediums and creative disciplines – he was a poet, sculptor, graphic designer, translator and “vernacular conceptualist”.
Wilhelm van Rensburg, senior art specialist at auction house Strauss & Co, says that although Jensma is better known as an avant-garde resistance poet of the 1970s than as a fine artist, the Apartheid monstrosities that feature so vividly in his poetry, also transcend the evil shadows he portrays in his graphic print work.
âWe are delighted to offer three of his works at the next online auction in November. ”
The works all encompass Jensma’s organic and primitivist style, with her amorphous subject matter and abstract forms. All three lots are reasonably priced and offer budding collectors the opportunity to own one of South Africa’s most enigmatic and multifaceted designers.
Not to be cataloged
Lionel Abrahams, in the Rand Daily Mail, observed: âAt a time when people are more aware of their color than ever before, even in the arts, Jensma is the only South African artist in any medium who has transcended barriers. . His work is neither English nor Afrikaans, black or white.
Jensma’s visual and poetic language was as impenetrable as his identity, researchers and critics recalled their surprise upon meeting the artist or seeing his photo for the first time, only to discover that he is white, of Afrikaner descent. and Dutch.
âBefore seeing his photograph, one might imagine him as Cape Malay, or a Tswana from a township where everyone speaks African-American slang, or an Afrikaner who has broken with Afrikanerdom, or a South- English-speaking African who spent his childhood among blacks. Yet it is white! French writer Jacques Alvarez-Pereyre remembers.
Poet and writer Peter Wilhelm proclaimed him “the first South African”
“Some have expressed uncertainty as to its racial / religious / political origin: after all, in the separated developing country, to have no official identity, not to fit into any Orthodox groove, is a very strange and disturbing thing. . He’s a terrifying new kind of human.
Art historian and critic Sean O’Toole writes that Jensma’s work easily rivals Battiss’s fake popular primitivist work of the same period. O ‘Toole is of the opinion that Jensma’s work shows him as someone ecstatically immersed in the spirit of his time,
âHis multiple prints, many of which feature his oddly proportioned human and animal figures, come in small and large, in impassive black, and in primary colors rivaling Battiss. “
The creatures in his prints are wild and phantasmagorical creatures that range from the comic to the fanciful.
âI have the impression that my graphic work proclaims the myth of the animal, the bird and the human. I am inspired by extinct art from Africa and South America, âJensma explained.
âMy work, however, is not an imitation of this type of work, but rather an interpretation of it seen through the prism of our time, of angst and neurosis. It is embodied by the abstract representation of the figures above.
His linocuts echo the monochrome plans of Russian Constructivism, but the mythical creatures and amorphous forms are also a nod to Jean Arp Dadaism and pre-Columbian art – his prints are reminiscent of the Nazca lines in southern Peru, a group of pre-Columbian geoglyphs carved in desert sands.
Sadly, the artist has been plagued with mental health issues his entire life, he was a certified schizophrenic, a long-term mental disorder of a type involving a breakdown in the relationship between thought, emotion and the behavior, leading to misperception, inappropriate actions and withdrawal from reality.
In his Afrikaans poem, the word ‘Klop en vir julle sal toegemaak’, he claims a provocative royalty with such creative forces as South African journalist Nat Nakasa, French Symbolist poet Charles Baudelaire and Paul Gauguin, who also suffered from mental illness.
In his work, he displays both an acute awareness of those with whom he shares this disease, and through his work, we detect a subconscious pride in sharing a pathology with literary and artistic giants.
Yet illness would rob him of his ability to create and write and make him homeless and in poverty, his last days at the Salvation Army homeless shelter, before disappearing into the ether, no leaving only his art and his words.
Next 3-part Strauss & Co online sale opens for auction on Monday 22sd November and visible on www.straussart.co.za
Part I – closes at 8 p.m. on Sunday 28e November
Session 1: works on paper
Session 2: Prints and Multiples
Session 3: Books, Portfolios and Sculpture
Part II – closes at 8 p.m. on Monday 29e November
Session 4: Guest curator: Sam Nhlengethwa
Session 5: The fabulous spectacle of images
Session 6: For the generations to come: Andile Dyalvane
Session 7: The Rose Korber collection
Session 8: Landscape paintings
Session 9: Wine: Italy and Spain
Part III – closes at 8 p.m. on Tuesday 30e November
Session 10: Choice of Strauss & Co personnel
Session 11: Paintings
Session 12: Decorative arts
Session 13: Birds, Butterflies and Botany