AN TON SM I T

RETROSPECTIVE 1970 - 2014


This book is dedicated to Anton Smit in celebration of
his life - a journey over sixty years. Sharing his
immense talent, his relentless contribution towards
art in South Africa, his generous personality and his
unquenchable spirit.
- Roelien Smit -
PREFACE
There are many criteria by which artistic talent For all these reasons, Anton Smit is recognised as an
can be discovered and appreciated. For instance artist of great standing.
the masterly use of materials, an exquisite
understanding of colour, tone, shading, an innate True artistic qualities reveal an inner conviction on
feeling of form and texture, a depth of fantasy and the part of the artist, a desperate urge to grasp
imagination, originality, a wealth of ideas and a human nature, whether it may be sorrow or joy or all
pervasive sense of inspiration. More mundane the other feelings that rule our lives. Moreover, true
criteria are notoriety, an impressive number of artistic creations must touch our souls, not necessarily
exhibitions, an accumulation of prizes and awards in a joyous fashion, but certainly in a real immanent
and the acquisition of artworks in official galleries way. They must have a spiritual content and a sense
as well as in corporate and private collections of beauty that will outlive the ravages of time.
both national and international. These criteria are
certainly all valid. They all contribute to an evaluation When you keep these criteria in mind, I can without
of some or other standing and prestige of the artist a hint of hesitation say that Anton Smit is not only an
in the world of art. exceptional artist, but also an artist true to his artistry.
This preface reflects my admiration and best wishes.
Anton Smit certainly meets all of the above-
mentioned criteria. His works, often monumental in
size, but never without grace and harmony, reveal
a complete mastery of his media and materials,
whether it be in stone, bronze, cement or metal,
they reflect subtle nuances of colour and shades.
His graceful forms, especially the stylish human
faces and figures give the impression of lightness
PIETER W VAN HEERDEN
and flight. The forces of his imagination are almost
Director
tangible and pervade the spaces surrounding his
Association of Arts, Pretoria
sculptures. Inspiration and dedication vibrate from
2 August 2014
all his work.
As far as the more worldly criteria of recognition and
acclaim are concerned, Anton certainly qualifies.
From the very early age of sixteen his work gained
admiration. His many successful exhibitions, national
as well as international, won him recognition and
fame. Indeed, Anton Smit is a member of a group of
the most prominent sculptors in South Africa.
INDEX
BIOGRAPHY 002
SCULPTURE PARK 008
LETTERS 011
1970 - 1980
Koki 014
Untitled 015
The Three Pregnancies 016
Raka 017
Untitled 018
Speed: Thrust 019
The Actor - Legends of the Mind 020
Untitled 021
1981 - 1989
The Passover 024
Josephine 026
The Departure 028
Ghemo Speed 029
Black Head with Glasses 030
Blue Head with Glasses 032
The Origin 033
The Fire 034
Colossal Youth Black 036
The Seventh Man 038
1990 - 1999
Katherina 042
Die Verlange 044
The Beginning of Wisdom 046
Moondance 047
Age of Grace 048
Man Who Has Peace 050
Bathsheba Black 052
Colossal Head 054
Vergissmeinnicht 058
Romans 8 059
The Guardian 060
Poetess 062
2000 - 2009
Millennium Figure 066
Head of a Young Girl 068
Head of a Young Boy 069
Astronomer’s Head 070
Head with Triangles 072
Ferreira Speed 074
Monument for the Common People 076
African Queen 078
Burgers van Khayelitsha 079
Lionel’s Head 080
The Passover 081
Broken 082
Mask 084
Sheperdess 086
Progression of Faith 088
Discarded 091
Burning Man 092
Faith 094
Revelations Wall 098
2010 - 2014
Facets of Personality - Bronze Series 106
Facets II 110
Crouching Angel 112
Mortal Coil 114
Liza’s Speed I 116
Liza’s Speed II 117
Pleiades 118
Balance 119
Colossal Youth Rusted 120
Kungwini Head 122
Transcendental Head: Queen of Kungwini 123
Affirmation of Gravity 126
Mijnlief 128
Grace 129
Embrace 130
Refigured I (Torso) 131
Toiva Ya Toiva Series 132
Transections 138
Spirit of Tshwane 140
Facets II: Belfry of Solitude 142
Facets II: Youth 144
Facets II: I Face the Wilderness 145
Grace: Dissolved (In Progress) 146
Reflections 147
CREDITS 149
BIOGRAPHY
ANTON SMIT: LIFE AND TIMES OF A SOUTH AFRICAN SCULPTOR
“What distinguishes the creative person is
his persistence and determination to excel.”
- Rhoma Ochse -
Anton Smit collects sayings and quotations about the
relationship between art and the individual artist’s
experience of reality. “Art is not to render the visible
but to render visible,” he asserts, and his art achieves
this in many ways.
An inspiring raconteur, Anton loves to relate tales
about his struggle as a young artist. The secret to
his success could be attributed to his courage and
determination to forge ahead in the face of great
difficulty. “Take big risks. Don’t fret about what others
think. Do the most difficult thing on earth for you –
do it for yourself.”
This approach paid off in spades. Widely revered
for his overwhelming heads and monumental
sculptures, evoking themes of suffering,
reconciliation, glory and sublimation, his works
grace public and private collections countrywide
and internationally.
“A human being consists of the choices he makes.”
- Anton Smit -
Anton Smit was born on 2 August 1954 in Boksburg,
South Africa, on the back seat of a car on the way to
the hospital outside the Colgate factory. His father
was a police officer, his beloved mother a teacher,
of whom he paints a vivid picture:
“My mother was a beauty from Moorreesburg
with long wavy hair down to her hips. There was
a posed studio photograph done in the forties
post-war sepia-toned style with her looking up, her
face awash in a mystical heavenly light. I doted
over this photo as a child; it filled me with warmth
and confidence that I could achieve anything I
wanted. Alas, she passed away in 1981 spending
her dying moments – so the sisters told me – in
the same hospital bed in Port Shepstone as Walter
Battis did a few months earlier. She was cremated
in Durban and her ashes somehow got lost. I was
overwhelmed with a sense of unbearable loss and
vented my grief on creating a sculpture in a trance-
like state, until my brother walked into the studio
and exclaimed: ‘Oh, I see you’ve made a sculpture
of mom’s photo, what a remarkable resemblance!’
Ever since then I have always kept that sculpture
outside my studio as a memorial to my mother, so
instead of occasionally visiting her grave, she is with
me every day.”
002
With his father posted to different stations, the family
moved several times over the years. He was raised
in Boksburg till the age of three, in Grahamstown till
four, and in Port Shepstone from the ages of four
to eight. Most of his formative years were spent in
Kwa-Zulu Natal. His father was stationed in Port
Shepstone as Captain Regional Commander.
Anton has fond memories of this period and recalls
himself as a carefree child, playing outside with
bare feet, a fearless young Tarzan disappearing into
the tropical forest for hours, with a wooden stick as
a knife and a kettie defending himself against an
imaginary enemy. He stole and ate mangoes from
the neighbours and sold them, his first encounter
with the learning of business skills.
He went to school from a very young age. His
mother was a teacher who could not let him stay at
home alone, and from the age of four she took him
along to school where he attended grade 1 over two
years ahead of his peer group and doing extremely
well. Attending the only school in Port Shepstone,
he learnt English second language at a very young
age. He recalls raucous rivalries between the two
language groups, calling each other names like
“Afrikaner vrot Benaner!” and “Rooinek, parrabek,
trap jou vrek!”
As a most inquisitive child Anton discovered art at a
very young age paging through glossy publications
such as Life Magazine and Reader’s Digest, and in
one such magazine he first saw the sculpture Pieta
by Michelangelo. Not being able to read properly he
thought it was made by the angel Micheal. “I thought
no human being could be capable of making such
a beautiful thing…” Once he discovered it was made
by a human being called Michelangelo (with the
surname Bionarotti), he said to himself that if that
could be possible, he might also be able to make
something as beautiful as the Pieta one day. “To this
day this is to me the most significant artwork of all
times – it brings tears to my eyes every time I look
at it…”
In 1967 he was in standard 7 in Voortrekker High,
Pietermaritzburg, where he found himself bored with
school, scoring high marks in maths and science but
not stimulated enough: “I knew the equations off
by heart already, and I became a burdened child
questioning the answers to school questions. I was
always fascinated by things outside the system…”
In an attempt to stimulate and subdue his prickly
personality, Anton was moved to the well known
Grey College in standard 8, where he didn’t fit in
at all. He discovered a joy in swimming and joined
the school swimming team, becoming a part-time
lifesaver at the public swimming pool. This was
partly a way to escape difficult circumstances at
home.
“Things were starting to pick up for me,” he
remembers. “I had excellent marks at school, and
I was offered an opportunity to swim provincially
representing my school, but my father refused.
Then we had to move again because Father was
promoted to general.” Moving from a platteland
community to a school in Oos Moot in the big city
Pretoria had a profoundly negative impact on the
young Anton.
In standard 9 and 10 (1970 to 1971) in Oos Moot
he was becoming a rebel, questioning the system
and the rule of authoritarian figures. He resisted
the unnecessarily strict rules and military way the
headmaster presided over the school with severe
punishment by rottang.
A key turning point involving his artistic aspirations
came in 1971, when he participated in the National
Bible Competition and won his first sculpture
competition.
Anton describes his Father as “a vivacious personality
with a strong sense of justice” who performed
Shakespeare and sang opera. He was stationed
at the Pretoria headquarters and set up the Public
BIOGRAPHY
Relations Department, thereafter being promoted I was not able to drive back home on my 150cc At this time he achieved his first artistic break-
to divisional Commissioner West Rand with its motorbike and found myself sleeping in the pottery throughs and in 1977 he received special mention in
headquarters in Krugersdorp. studio under a table.” the South African Art Association’s New Signatures
competition. Two years later he had a great boost
After matriculating, Anton did not have enough He took various jobs from 1975 to 1977 to make ends when he won first prize in the New Signatures
funds to go to university. His parents could only meet, working as a window designer at competition in Pretoria. “Miraculously the works I
afford to support one child’s further studies, which Greatermans and Garlicks, taking care of his first made at the pottery were getting a lot of attention
was his youngest brother, (now an expert in wife Erica and his son Sydney. and it started to sell,” he recalls.
quantum physics). As a budding artist, Anton had
no assistance, he was on his own. He spent the next Anton was employed as a security guard at Datsun He was the “Artist of the month” in 1982 at the
few years, from 1971 to 1973, in the Police Academy. Nissan (1977 to 1980) and as a security officer at Pretoria Art Museum and that year he quit his job
Here his problem with the system resurfaced as he SA Breweries (1980 to 1982) until he found a much at SA Breweries security. This was followed in 1987
refused to cut his hair and to use a firearm. In doing better paid job at Steel Mobile in Rosslyn. He used with his first one man exhibition in the Beuster-
so he was treated as a very difficult, unruly individual his scooter for transportation and was soon doing Skolimowski Gallery in Pretoria and in 1989 another
who had to be tamed or “broke-in”; labelled a night duty: “This I’ve organised in order to sustain one man exhibition at the SAAA.
“hippie” and treated with disdain. At the Police my artistic dream going to Kraft pottery during the
Academy, Anton revelled in all law-related subjects day, starting night duty from 10pm till 6am. We were After a few years of doing something which he felt
and excelled with a 93% average. “Later in my police desperately poor. I came home, napped for an hour passionate about, he could afford to build a studio
career and life I tried to apply what I was taught at or two after night shift and then went to Kraft Pottery in the backyard of a rented house in Villiera. “At
Law school, but this didn’t work out so well for me…” ​ where I worked all day. I knew I had to force myself this stage my older brother resigned his work and
in order to get out of the poverty trap. desperately wanted to work with me. Together we
While in the police, Anton became aware of the started making pots and garden products, some of
unjustness of the apartheid regime and the cruel which became household goods.” The new venture
and unjustifiable application of racial discrimination. “Experience is a tough taskmaster. First you have to was called Anorica, a trademark that became
He became a passive activist, putting greater strain write the test, before you get the lesson.” well known at garden shops and nurseries. Anton
on the already precarious relationship with his - Sol Kerzner -
father, who had been promoted to Major General in
charge of personnel.
Being fundamentally unfit to serve or fit into the
system, in 1976 his father removed him from active
police duty, instead sending him to work in the Police
Museum (SAP Photography). “I was a problem and
a disgrace to my father’s career, and he ‘organised’
me a job at the Police Museum, where I learnt how
to take crime pictures. It was fascinating to go into
the darkroom to develop pictures. Ironically, through
this system I so despised I found myself learning lots
of interesting things like how to read fingerprints.”
He discovered the dark side of police photography,
documenting serious crime scenes and murders,
developing the crime photos trying to discover
the truth. He found it intriguing to be part of the
investigating team.
“I started having more and more haunting
nightmares and realised I had to go. I did not
complete my tour of duty at the police and was
therefore commanded to do duty at the local police
station for the period of one month every year for
five years, which I duly did.”
During this time Anton joined Kraft Pottery down in
the basement of the SALU building in Andries Street,
Pretoria. “This was my escape from the real world,
where I started making ceramic sculptures. Often Anton and Sydney
003
BIOGRAPHY
designed most of the items while Ethan handled
the casting. “This put food on the table for several
years,” Anton recounts. “Later I became less and
less involved, trying to pursue my own career as a
sculptor.” Anton handed his share over to his brother
in 1990.
“Go big or go home!”
- Sol Kerzner -
“Gradually my artwork became more popular and
by 1990 I was at last selling enough to make a living
and could commit myself full time to art. I could then
afford to buy my first house in Villieria , Pretoria.”
Anton launched a lighting business, Let There Be
Light, designing and manufacturing artistic light
designs and selling these to décor shops like Future
Classics. His first studio was in Villieria , where he
held many exhibitions.
Since then he has held numerous exhibitions of his
sculptures throughout South Africa, in the Pretoria
Art Museum, in Witrivier, Nelspruit, Pietersburg,
Johannesburg, Potchefstroom, Durban, Cape Town,
in leading galleries such as the Crake, Kraft, Olivetti,
Michaelatos, Beuster-Skolimowski, Everard Read
and many others. His work has been exhibited in
Rome and Milan, Italy. The M-Net Head Office
bought large sculptures, and he completed
commissioned works for BMW’s head office
in Midrand.
In 1994, he put 35 sculptures on exhibition in New
York at the Grand Central Station as part of the
“Strengthening the Link” initiative to boost the
trade between South Africa and The United States,
organised by SATOUR in conjunction with the
Department of Trade and Industry, represented
by Nelson Mandela. He considers one of the
highlights of his career The Age of Grace, an eight
foot high bronze sculpture at Grand Central Station
which celebrated South African Heritage, and was
displayed on the front page of The New York Times.
Anton Rupert bought one of Smit’s works for the
Rembrandt Foundation. A collection of his work was
exhibited during the inauguration of President Nelson
Mandela at the Union Buildings in Pretoria in 1994.
Nobel Laureate Desmond Tutu and ex-minister Pik
Botha bought some of his sculptures. He created
a striking series of sculptures for the Boardwalk
Meander in Pretoria.
His work has been lauded internationally in places
as diverse as Rome and Milan, Italy (1991), the
004
BIOGRAPHY
environment to view the expansive collection of
Prolific monumental sculptures, it includes Imagine Café,
a full service coffee shop. The Park expands the
Other landmark exhibitions and art commissions traditional concept of an art venue, ensuring a truly
he completed include the Public Commission unique and inspiring experience.
National library of Tshwane in Pretoria (2007);
No Second Death Exhibition in Franchhoek at Here he created a monumental sculpture wall on
the Grande Provence Wine Estate and Gallery the theme of Revelations (2008), the last book of the
(2009); a large sandstone head and other art New Testament. “It doesn’t represent the narrative
commissioned by Graff Delaire Wine Estate or try to tell the interwoven stories of Revelations
(2009); Facets exhibition and Angels exhibition or pretend to issue any prophetic warning. I didn’t
at the Anton Smit Gallery (2010); Transitions at want to knock together generic or kitsch images
Anton Smit Gallery and Faith exhibition at the like news pictures in Time Magazine. Rather, it
Grande Hyatt Regency Hotel and Golf Estate deals thematically with the emotional impact of
Oubaai (2011); Transcendental Head/Kungwini
public sculpture on the R25, a symbol of the new
SA (2012); Metal work exhibition in Stellenbosch
and The Continuous Redemption of Man at
the Gallery on Liviseur, Bloemfontein, Innibos
festival in Nelspruit (2013); Art Affair at the Saxon
Hotel in Johannesburg (2014), Transections in
the Youngblood Gallery in Cape Town and a
monumental commission for Menlyn Maine
(2014). He is also a participant in the Cool
Capital initiative of Tshwane.
Anton Smit’s much-anticipated solo sculpture
exhibition Reverberating Time was shown at
the Youngblood Gallery in Cape Town in March
2014. Half of the pieces in this solo exhibition
were displayed there for three days, then
sent to Germany, where Youngblood Europe
presented them as part of the world-renowned
contemporary art fair, Art Cologne.
Sweeguan Art Gallery in Singapore (1993), Bonn and
Wolfsburg in Germany (1994), the SA Embassy in
Bonn (1998), Amsterdam (2004) and Cologne (2014).
In 2003, Smit opened his own sculpture garden, the
spectacular Anton Smit Sculpture Park at Aqua Vista,
with a breathtaking view of Bronkhorstspruit Dam. In
the same year he created the enormous Sandstone
Head (2 x 3 metres) for a European art collector.
The Anton Smit Sculpture Park, a unique outdoor
exhibition which is a mere 40 minutes’ drive from
Pretoria and 60 minutes from Johannesburg, is a
destination of creativity attracting tourists and art
buyers locally and internationally. The Sculpture
Park’s three-hectare grounds are situated on the
northern side of the Bronkhorstspruit Dam, on a
plateau overlooking the water. Among the backdrop
of natural stone formations, manicured lawns and
succulent gardens, it makes for a lovely Age of Grace
005
BIOGRAPHY
Revelations on the human race, all the spiritual
drama wrought by so much upheaval. I certainly did
not want to be predictable…”
The epic art wall is populated with entwined figures
who struggle in the grip of powerful emotions.
There are 50 or more human figures in the wall,
but no animals. But there is a central fish.” The
figures, varying from hand-sized to one and a half
times lifesized, seem to twist and turn and writhe in
constant motion. “In the perfect logic of our dreams,
Jonah’s whale is the Leviathan seeking to swallow
our future by hiding purpose and direction.”
“An artist is a paradox. By being selfish he
becomes unselfish.”
- Anton Smit -
As his work was becoming more visible to the public
and open to criticism, Anton took part in exhibitions
which placed strain on his first marriage. He
was divorced in 1999, after his second son Lionel
matriculated. A new era dawned in 1999 when
he bought a farm in Derdepoort, Pretoria, where
he had his studio at – on the Kameeldrift road. In
2000, work was commissioned by The University of
Pretoria. In 2001, his works were purchased by the
Rembrandt Foundation in Stellenbosch and a large
work was commissioned by MNT Developers for the
Boardwalk Meander.
He met his second wife, Roelien in 2001. “Roelien is
an acclaimed interior designer with clients locally
and abroad. “We met ten years ago. While she
was busy with the interiors of a guest house, she
purchased some of my sculptures for her client.
I immediately recognised her as my soul mate,
and we’ve become inseparable ever since. As we
are both Leos with birthdays just one day apart,
(Roelien 1 August, Anton 2 August) we are both very
passionate and fiery people. We ‘survive’ by each
keeping to their own territory, leaving some space to
cool off when things get too hot!”
The couple moved to Bronkhorstspruit dam in 2002
and bought a house where they resided on a cliff
adjacent to the dam, fulfilling one of Anton’s lifelong
dreams to live close to water. Here they launched the
Sculpture Park and coffee shop/gallery with studios
together. “My wife, Roelien is the greatest person I
have ever met,” Anton confides. “Without her it would
have been impossible to have achieved what we
did. Not only is she beautiful and extremely creative,
she is also the live wire of my business as she
handles all marketing aspects and clients – dealing
006
BIOGRAPHY
“I like to be on the edge of the possible.”
“Many moods of mind .” “Nothing great will be achieved without great - Jorn Utzon -
men, and men are only great if they are
Always interested in the performing arts (like his determined to be so.” “Creation continues incessantly through the medium
father), an element of the theatrical is often present - Charles de Gaulle - of man,” Anton believes. “Man himself then is
in his work. The Actor – Legends of the Mind was mouthpiece, medium and meaning all in one, and
a “work in seven acts” he made depicting various These are some of the character traits Anton’s his challenge as an artist is to create himself over
aspects of the actor in his many moods of mind, using closest and dearest have noticed: and over again, finding new connotations and new
well known actor Marius Weyers as a model when concepts in given shapes, figures and faces. Man
Marius’s wife Yvette came to him for pottery lessons. > Excellent by delegating - several
emulates and assimilates nature, producing poetry
Anton explains his method: “Marius sat for me on a
projects simultaneously… in word and form.”
number of occasions, but we just talked. I made no
drawings, took no pictures. When I got down to the
> Never late with a project, deadline-driven
job, I made a mould in 52 pieces. I worked daily from > Excellent at project management Some observers have noted that this is why so many
7am to 11pm, executing the work in two weeks.” and planning of his pieces, even the most abstract ones, manage
> Dedicated, committed, his motto: to communicate powerfully and emotionally
“Go Big or Go Home“ and why his work is possessed of a raw, earthy
“A human being consists of the choices he makes.” > Enthusiastic and expressive, always talking power that feels innately African. His body of work
- Anton Smit - with his arms comprises human figures, big heads, masks, hands,
> Complicated, interesting, intellectual, always angels, floating and stretching figures, warriors as
The key influences in his life that impacted his art reading and learning well as abstract works, using mostly steel, metal,
about art, techniques etcetera. I then went home
were in a great measure deeply personal and > Passionate about almost everything in life fibreglass and bronze. Anton likes to imbue his work
Anton and Roelien and started experimenting with clay.
stemmed from his childhood desire to create > Charismatic, eccentric personality, very with an illusion of movement or gesture, bodies
something lasting and beautiful. soft-hearted – a giver curling up or limbs reaching out to the onlooker,
with publicity on a daily basis. She is also inventive From his mother he took a sense of tenderness,
> Loves building things inspirational “action figures” projecting tremendous
and very supportive and we’ve been working side empathy and respect, showing kindness to all life
Anton’s driving force was to be independent and > Loyal husband, friend and father emotion, a call to movement. He works with metals
by side for nine years creating our sculpture park, forms, animals, nurturing a great love of nature.
do it himself. He never had any financial support > Reading and learning the Bible “in-depth” and stones, also creating a unique iron and polymer
studios and her own unique coffee shop, Imagine “She took all the stray animals to her house, giving
from his parents, which made him more determined > Broad knowledge of many things, showing a cast mixture, which combines metal with several
Café.” Roelien is the foundation on which I build the them food and shelter. She was a school teacher
to succeed. “Whenever I had spare time I went to keen interest in a wide range of topics other mediums.
house. When completed you only see the house, but burdened with much homework and I realised
the Merensky library on the University of Pretoria > Music from Beethoven/Bach to Pink Floyd
it can’t stand firm without a foundation. Her devotion that she was overloaded and helped to relieve her
campus, researching the history of art, grabbing and Tom Waits Anton spends and works the first three months of the
to me is such that she is in all my work…” burden by sorting out the books and classes. She
almost anything I could put my hands on by reading > Loves telling stories and acting year in his Cape studios in Strand and for the rest
would select the best pupil’s paper, mark it and then
> At times temperamental like a true artist of the year in his studios at Bronkhorstspruit Dam,
Anton’s eldest son, Sydney (39), is a “real gentleman” hand it to me as a reference, from which I would > Open and honest where he oversees a dedicated work force of 14
and a member of the VIP protection unit of the SAPS, mark the rest of the pupil’s work. By me doing this, > Inspirational, energetic people. “They are like family.”
who does sculptures part-time. His youngest son, she was able to attend to the daily chores. We had
Lionel (30), is a well-known painter and sculptor a similar handwriting and nobody realised that
Anton Smit in his creative prime is a force to be
living in the Strand. He also has two adopted sons, anything was amiss… this went on for many years. describes his first exposure in this way: “At the tender reckoned with.
Cornelius Treptow and Jacques Smith, who are The discipline taught me order – till today I can’t age of four I was introduced to Christianity by a
in their 40s and are both successful professional work in chaos.” caring Sunday school teacher. My mother woke me
people, and two granddaughters, Erica Rose early on a Sunday, dressed me in my best Sunday
and Vera. Roelien has two sons from a previous suit with a bowtie and dropped me across the street
“You must care about a world you can’t see.” from the church. She would then point at the open
marriage, Erwalt and Renier. - Bertrand Russel -
doors and say to me ‘Go in there.’ After fruitlessly
“Our children are all grown men, and whenever we nagging her to come along, she would drive off and
Anton has two brothers, Ethan the eldest was a
come together, they complain amongst themselves, leave me there… I walked in and there were long
business man and man of nature who passed away
family members and friends of their parents wooden benches and many people wearing black.
in 2010, and André is a scientist in Quantum Physics
exhausting them with all their crazy new ideas and I sat down on one of the benches, and the
who lives in Pretoria.
too much energy. When the boys were youngsters, next moment The preacher appeared - arms
we had quite a bohemian and artistic household outstretched ! I Thought he was Batman! The next
with a constant stream of artists, scientists, explorers “All of us are angels with one wing. The only way to thing I remember was being herded to a back room
and even a medical doctor staying in our studio fly is to hold onto each other.” with all the other children . There I heard about Jesus
apartment, with many lively debates around the - Anton Smit - for the first time and immediately I was hooked. I
dinner table and a lot of experimentation in the have loved Him ever since.
adjacent studio. Lionel in particular lapped it up like Anton’s Christian faith is the most important aspect of
a kitten at warm milk.” his life and a profound influence on all his work. He
Anton and Lionel Anton and his team
007
1990 - 1999 1990 - 1999

PHOTO CAPTION AS IT APPEARED ON THE FRONT PAGE:

A NEW FACE AT GRAND CENTRAL: SOUTH AFRICAN ART

Published: September 21, 1994

Photo: A visitor to the South African Arts and Crafts Market at Grand Central Terminal made his
way around an eight-foot bronze sculpture “Age of Grace,” one of the pieces that celebrates
South Africa’s heritage. (Greatstock/The New York Times/JOSE R LOPEZ)

AGE OF GRACE

1993
2200 x 400 x 300mm

In 1994, Anton put 35 sculptures on exhibition

in New York at the Jacob Jawitz Exhibition
Centre and Grand Central Station. This was
part of the “Strengthening the Link” initiative,
one of the largest trade exhibition in which
South African artists and producers have
ever participated overseas, to boost the
trade between South Africa and the United
States. Anton considers The Age of Grace,
an eight foot high bronze sculpture that was
displayed at Grand Central Station, as one of
the highlights of his career.

048 049