Naturalism And Distortion In Selected Works By Dylan Lewis And Thandi Rose

In the sculptures, Running Cheetah 3 and Male Trans-Figure II Marquette by Dylan Lewis and graphite drawings, Porous Vir I (Pig Man I) and Porcus Vir II (Pig Man II) by Thandi Rose naturalism and distortion play prominent roles in the composition of the artworks. Naturalism, the depiction of realistic objects in a natural setting and distortion, the alternation of shapes, is evident through the artist’s comparison between humankind, nature, and animals.

Running Cheetah 3 by Dylan Lewis uses naturalism and distortion in his bronze sculpture to show the raw, primal instinct of movement which is possessed by a cheetah. He studied taxidermy for four years which influenced and inspired him to pursue the animal figure. Dylan Lewis creates a linear base to suggest the cheetah’s roaring running speed. The jagged texture distorts the sculpture, heightening the sense of blurred motion. He also uses naturalism in his expressive textures which creates a dynamic series of fluid movements that transform this still-life sculpture into a moving being. Lewis uses naturalism and distortion which is evident in the form of the cheetah. The form of the running cheetah suggests that the cheetah has an eternal and continuous mark on nature and that it is unstoppable. The naturalistic hurling movement of the sculpture highlights this. The texture of the cheetah is distorted with naturalistic aspects which also suggests that the cheetah is one with nature. The strong gaze into the distance which is portrayed expresses self-empowerment. Through naturalism and distortion, Lewis shows that the cheetah, in its movement, overpowers the ‘obstacle’ of the linear, distorted and jagged base.

By contrast, Dylan Lewis portrayed naturalism and distortion in his sculpture, Male Trans-Figure II Maquette. The sculpture represents the significance of the wilderness on the human psyche. The texture of the sculpture is created by Lewis’s own hands, suggesting the concept of ‘raw emotion’ and the union of nature and man. The human form is distorted and intertwined into a fetus-like position and the head is made by a bull’s skull. The form summons the shaman spirit- the shaman is in direct relation with nature’s spirit. The distortion and the fetus positioning of the figure suggest metamorphosis The figure’s ‘mask’ is adorned with animal horns, which relates to a horned god found in many mythology’s. The symbolism of the mask is closely related to sexuality, virility and draws parallels to wild animals. The distortion causes the figure to lose its identity through ceremonial movements, embracing its inner animalistic instincts, thereby the figure becomes more than human. Lewis uses naturalism to explore the concept of peaceful co-existence between the untamed wilderness and the domestic human environment. The figure is seen reconnecting with what humankind has lost spiritually and is reestablishing the significance of being human and its difference to being an animal. The naturalistic aspect of the animal skull and the curved line of the sculpture represents reincarnation- the restricted human spirit is freed through nature’s evolution.

Porcus Vir I by Thandi Rose is a graphite drawing of a pig humanoid that serves as a metaphor for the ‘other’, or those who have been marginalised by society. Pigs, one of the closest mammals related to humans are typically regarded as ‘dirty’ or ‘fowl’, thereby they are naturally rejected by society and placed in the ‘other’ category. The obvious distortion of the pig-man does not meet modern beauty standards and is as unattractive and as undesirable as a pig. Rose also draws attention to the phrases such as, “men are pigs” and ‘men are trash’ which are commonly used by millennials to single all men out as being demeaning. This digression of all men allows for men to develop low self-esteem and even the questioning of their self-worth. Naturalism is applied to the downturned face of the pig-man, mimicking the direction of the whole body ( the whole body is downturned). This effect reveals the innate shame the pig-man possesses and the physical impact of his self-loathing thoughts. The naturalistic downturn of his body is also reflective of the gravitational pull and the weight that this pig-mean bears. Conversely, the pig-man’s body language is open and his stature is strong, portraying his inner strength instead of what would be expected from him – instead of being closed off and defensive. The blank and empty background shows the pig-man’s place in society and his separation from any contact. He is in complete isolation because he is the ‘other’.

Porcus Vir II (Pig Man II) by Thandi Rose is an image portraying a pig humanoid that highlights the similarities between pig farms and the structure of society through its distortion and naturalism. The life of pigs on farms is being compared to the scheduled human lifecycle The distortion is symbolic of the fact that people have been de-humanized by modern society and are viewed as a mass and as dispensable. The first is suggestive of defiance and resistance. The imposing dark tones invite the viewer to closely observe the detail. The figure is ominous and reveals no identity. This disconnects any emotion from the viewer and dehumanises the figure. Naturalism is displayed in the dimpled and fatty texture of the skin. The skin is unappealing which reflects on the poor self-care and well-being practiced by people due to society’s weak attempt to nurture in a highly judgmental and materialistic environment. The figure holds a strong fist which firmly suggests secrets and an underlying revolution. The figure also turns its back on the viewer which expressed the pig-man’s forward-thinking and his positivity for the future.

Conclusively, the chosen artworks by artists, Dylan Lewis and Thandi Rose, exhibit their common theme relating to human metamorphosis into naturalistic/ animalistic beings through their usage of the artistic elements, naturalism, and distortion. The artworks present the possibility and compatibility of distortion in a naturalistic environment and the beauty of naturalism in distortion.