Focus On: The Creation Altarpiece

The Creation Altarpiece (along with the two other major works produced by the Keiskamma Art Project - The Keiskamma Altarpiece and the Keiskamma Tapestry), has been admired and exhibited internationally. The altarpiece is an historically and artistically significant work. Please read the following piece from the Keiskamma Trust website that describes it. This extraordinary work is currently being offered for sale by the Trust, for $37,000.00 Cdn. (Contact Annette Woudstra at the Trust for more information).

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The Creation Altarpiece was created in an effort to engage people in an awareness and appreciation of the natural world. It was also meant to be a vehicle for the artists to express their joy in the beauty of their surroundings as well as the hope for the healing and restoration of the environment.

In the tradition of previous works by the Keiskamma Art Project, the Creation Altarpiece is inspired by another renaissance altar piece, Lam Gott by Jan Van Eyck, one of the largest and most complex altarpieces produced in the Netherlands during the 15th century.

The Van Eyck altarpiece but has been re-interpreted so that each panel and every depiction is meaningful and relevant to the Hamburg community and their experiences.

When the famous Van Eyck altarpiece is closed, across the outer panels one sees a depiction of 'the annunciation', with biblical prophets filling the top inset. In this same section of the Creation Altarpiece, the Keiskamma artists have chosen to portray their own Xhosa prophetess, Nonquawuse, and next to her, her cousin Nonkosi. The young Nonquawuse's prophesy was cause for the devastating cattle killings carried out by the Xhosa people in the belief that this would drive the white oppressors of the time into the sea, returning wealth to the Xhosa nation. The story reoccurs in several of the Keiskamma Art Project’s works.

Across the four main panels below the inset, through photographs one sees into the life of a rural Xhosa family in Hamburg. Inside a typical Xhosa hut, the twins Brightness and Sweetness pose as the angel Gabriel with Nonyameko on the right as the Virgin Mary. This scene is an interpretation on the Annunciation and speaks of hope for the next generation in Hamburg—that it would be free of disease and poverty—and instead be a place of abundance and joy.

The panel above ‘the angels’ show an eastern cape indigenous flower in place of the traditional and above Mary, Nonyameko there is a felt wing replacing the dove of the Holy Spirit.

The panel bottom left shows a group of embroiderers and sewers from the Keiskamma Art Project in Hamburg and beaders from the neighbouring village of Ntilini on the bottom right panel. These groups stand on either side of two very wise, elderly members of the community; Mr. Gqwaka, a leader and traditional healer (as John the Baptist) and the late Noshumi Rhubhushe, a Sangoma or spiritual leader (as John the Evangelist).

When the doors of the altarpiece open a glorious scene centred on a small, glowing, golden cow is revealed. The cow, most sacred to the Xhosa people, has replaced the symbolic lamb at the centre of the Van Eyck altarpiece, standing to bring restoration to all of creation.

Surrounding the cow and extending its branches to cover the central area of the open work is a beautiful fig tree. The tree is a symbol for new life and growth. Its branches are home to the many beautiful birds and creatures, native to the area of Hamburg. The scene is a vision of new hopefulness for the village and burgeoning life.

In the open Creation Altarpiece, two local Hamburg residents Shadrak and Mildred, represent Adam and Eve. Sustained by the ocean and the natural environment they have lived in lived in and known intimately all their lives, they stand for people who live in harmony with the natural world.

Between Adam and Eve and across the open panels of the Creation Altarpiece one can see many groups of people from Hamburg and the neighbouring village of Bodiam. They echo Van Eyck's groups shown moving towards the fountain of living water as many of the groups move towards their own symbol of strength and new hopefulness.

The photographs in the Creation Altarpiece were taken by Vanessa Ruiz, Robert Hofmeyr, Tanya Jordaan and Justus Hofmeyr. The frame of the altar piece was made by Richard Henry with help from Ayanda and Douglas Woudstra. It is made in the style of the frame of the Van Eyck altar but in indigenous south African yellow wood.