Ever since I was young, I’ve had a deep, abiding fascination with the Owl House, the creation of Outsider Artist Helen Martins who lived in the tiny Karoo town of Nieu Bethesda in South Africa until she tragically ended her own life in 1976. If you’ve never heard the term “Outsider Art” before, in a nutshell, according to the Tate Gallery: “Outsider art is used to describe art that has a naïve quality, often produced by people who have not trained as artists or worked within the conventions of traditional art production”. (1)
This places Helen’s work under the umbrella shared by the likes of the Palais Idéal by Ferdinand Cheval (Hauterives, France, 1836-1924), Nek Chand Saini’s Rock Garden (Chandigarh, India, 1924-2015), and Veijo Rönkkönen Sculpture Garden by Veijo Rönkkönen (Parikkala, Finland, 1944-2010), among many others – these are all well worth a Google if you wish for a wonderful way to explore paths that are quite extraordinary. Outsider Art can therefore be considered a lively global phenomenon that transcends cultures and often crops up in unexpected locations. In addition to regular art materials, it can incorporate found materials in unconventional ways. Outsider Art never fails to elicit strong responses from people who encounter it for the first time. Like it or hate it, there’s no denying that in all its diverse forms, Outsider Art is certainly memorable.
Helen Martins’ Owl House is unforgettable.
From the outside, her home appears as a typical, unassuming Karoo dwelling, but a second glance will draw your gaze to the cement owl sculptures on the stoep enclosed in a wire mesh ‘cage’. If you then peek over the stone wall, you’ll catch your first glimpse of the fantastic Camel Yard – the property’s entire garden has been transformed with hundreds of cement-and-glass statues of camels, pilgrims, mermaids, bottle-skirted hostesses, and other, assorted figures that feed into the rich imagination of their creator.
The interior of the home has also been transformed – its walls painted bright colours and encrusted with crushed glass. Strategically placed mirrors, cut into suns and moons, and other shapes, reflect light, and while Helen was still alive, she would light a multitude of candles and lamps after sunset. If you consider that Nieu Bethesda was only connected to the national electricity grid in the early 1990s, you’ll understand exactly how dark the interior of a home could be back then. And, for those of us currently dealing with load shedding, who have not had the wherewithal to go solar or purchase an inverter, you’ll have an all-too-intimate understanding of exactly how suffocating and tangible the darkness becomes once the sun sets.
But what, I’m sure you’re asking now, does any of this have to do with Egypt?
Some of the themes prevalent in Helen’s work resulted in a synthesis of her own personal cosmology involving light and darkness, with strong solar and lunar themes, but also drew upon Western, Near Eastern, and biblical themes, blending them all in an unrestrained expression of creativity made concrete with cement, wire, glass, and found objects.
And, once you wander past the throngs of pilgrims, camels, bottle-skirted hostesses, owls, and mermaids, you will find a spot of ‘Egypt’ in the Camel Yard, complete with sphinxes and 15 pyramids constructed out of cement over wire armatures. Now Helen herself never visited Egypt, so most of her image sources would have included the humble Lion matchbox with its iconic red lion and other found items, such as postcards.
Art historian Susan Imrie Ross further elucidates:
In Helen’s house is a well-worn, beautifully tooled leather writing case containing old family photographs and letters. Among the many Egyptians scenes depicted on it are lions, ibises, camels, the sun, Egyptian gods, and birds which appear to have the body of an owl and the face of a human. It is interesting to see the variety of objects on the writing case which could have inspired her, but which she did not choose to use. Subjects such as bulls, the Egyptian half-man half-animal gods, boats to the underworld, chariots, and bowmen obviously did not strike chords with her. (2)
Of course, those who know Egypt’s monuments well, need not have it explained that a sphinx is traditionally depicted as a lion with a human head. (If you’re a mythology buff, you’ll know that variations do exist in Egypt and other cultures.) The sphinx itself, if you run with the ancient Egyptian iteration of this mythological beastie, would be associated with the lion – a solar symbol. We can debate that it possibly further ties in with the lion as it appears in Helen’s cosmology, where it is associated with her father, with whom she had a troubled relationship. To further support this theory, another lion encountered in the Camel Yard has motorcar headlights for eyes (perhaps suggestive of its ability to see in the dark). It is located near the outside room where Helen’s father was banished in his later years. The room was painted black and named ‘The Lion’s Den’.
As for the pyramids, they add to the monumental nature of the Camel Yard in general. Of course, we can only surmise what Helen truly intended them to represent – as symbols, they are powerful reminders of the belief in transcending death, of being able to attain a good afterlife, if one takes into consideration the intentions of the original tomb builders of ancient Egypt.
Perhaps, in a way, it can be conjectured that these creations were Helen’s own attempt at having her name spoken long after her passing, so that in a way, too, she might attain a sort of immortality.
Even if in life, she was somewhat of a social pariah – through her own actions and/or through the regard of her fellow villagers – her creation has in recent years provided a vital lifeline of tourism for this sleepy little Eastern Cape village that it might ordinarily not have experienced. Every year, thousands of tourists take that turnoff from the N9 to visit Helen Martins’ legacy. Whether they stay for a few hours, have a meal, and buy a few curios or linger for days to soak in the sedate ambience, Nieu Betheda arguably casts a magnificent spell on visitors.
If you do find your route winding along near Graaff-Reinet, do consider making a detour to Nieu Bethesda and reckon on spending at least half a day, if not more. It’s also a great place to overnight if you’re breaking up your road trip. Not only will you encounter a community filled with warmth and creativity, but you will have a chance to experience the magical legacy of Helen Martins that will no doubt be spoken of for many more years.
References
1. “Tate.” Art Term: Outside Art. www.tate.org.uk/art/art-terms/o/outsider-art. Website accessed 18 Jan. 2023
2. Imrie Ross. (1997). This is my world: The life of Helen Martins, Creator of the Owl House (1st ed.). Oxford University Press Southern Africa.
