19 December 2005 NOBEL SQUARE FACT SHEET 19 December 2005 Peace and Democracy: a sculpture by Noria Mabasa 19 December 2005 Laureate Information 19 December 2005 The Process Followed in Appointing the Nobel Square Artists 19 December 2005 Wording of the Nobel Square plaque

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Portrait sculpture poses huge problems for the contemporary artist. On the one hand, the relationship between the artist and her sitter has been questioned by the efficacy of the photograph. In addition, the whole endeavour of portrait busts has been rendered rather démodé by contemporary developments in image making. Claudette Schreuders launches herself into this aesthetic ‘no-go area’ with resolute determination and the knowledge that her personal vision, and style, has garnered her a growing international reputation.

Her stylistic approach is not guided by the mannered notions of high-realism, nor vague notions of the universal anima inhabiting most people. Schreuders has the almost unique ability to animate the upright, frontal and static human figure with a self-awareness and presence that commands immediate attention. This has not come easily, and she has worked with problems of ‘likeness’ and representivity, throughout her career. She has sculpted likenesses of her husband, the comic artist Anton Kannemeyer, as well as other members of her family and circle of friends. These ‘experiments’ were undertaken voluntarily and with no expectation of payment or ‘come back’ from her sitter should they be less than pleased with the result.

In the case of the sculptures of the four South African Nobel Peace Prize laureates, there was enormous pressure right from the beginning because, in terms of the contract, the laureates, or their representatives, had ‘sign-off’ power—not only on the full-size sculptures—but on the maquettes as well. It is to the artist’s credit that this protracted process of negotiation, twice to Archbishop Emeritus Desmond Tutu’s office, and twice to Groutville in Kwazulu-Natal to visit the Luthuli family, resulted in an acceptance of her vision and approach, rather than the need on her part to make any changes.

Claudette Schreuders’ work for Nobel Square presents itself to the viewer as an individuated ensemble. None of the four figures strives for centre stage, and each is quietly assertive of personal space, shared history and common resolve. They stand on a single plinth accessible to the people they stood up for. Their obvious gravitas does not set them apart from all of us, who, in remarking upon their likeness, are reminded of their lifelong work and achievements in the attainment of a just and democratic South Africa.

By: Gavin Younge

Professor of Fine Art, University of Cape Town

and Member of the Nobel Square Technical Committee