Predators and Prey II, The Dylan Lewis Bronzes

Dylan Lewis is in his mid-forties, a second-generation South African artist whose grandparents moved from the United Kingdom to South Africa at the turn of the 19th century. Lewis started his career as a painter and had forged a reputation for himself as such before turning his attention to sculpture soon after the death of his father, Robin Lewis, a well-respected sculptor of birds. Following in his father’s footsteps, Lewis’s first sculptures were done very much in his father’s fashion and were also of bird forms. However, Lewis quickly started to develop his own style and added successive new animal subjects to his repertoire, including rhino, buffalo, baboon, and most prolifically, the large wild cat predators of Africa.

From 1990 to 2005, working from his studio just outside Stellenbosch, Cape Town, Lewis focused extensively on animals. Over this time he exhibited his work across the United States of America, Canada, the United Kingdom and in South Africa, becoming widely recognised as one of the world’s foremost sculptors of the animal form. Here, Nic McElhatton, Chairman of Christie's South Kensington, interviews the artist about his influences, his past work and what's ahead.  

How much of an influence was your father Robin on your early work as an artist?
In my earliest pieces his influence was significant, both in terms of style and subject matter. Like him I explored the bird form using decorative compositions and smooth surface finishes.

Which other artists have had an influence on your work, in the past and present?
Rembrandt, Bugatti, Rodin, Bourdelle and Henry Moore.

What was the catalyst for the move towards the human form as a subject matter in recent years? You’ve spoken often about mankind’s disconnect with the call of the wild, and his need to re-connect with nature. Is this still the message within your work, or have your thoughts and opinions changed in line with the human form as your subject?
My earlier animal works were a response to the wilderness space that I’m so passionate about in a direct and literal way. The cat for me is an archetypal symbol of wilderness and for many years I’ve explored that symbol in my work. As I’ve got older I’ve become more interested in the notion of wilderness both in an internal and ex sense and the impact of this dual concept on the human psyche. I felt unable to explore this idea deeply purely through the animal form and found the human figure a more fitting vehicle.

You have such a strong and loyal following of collectors for your animal works, do you think you will ever go back over that ground as a source of inspiration?
I’m sure over the years that I may return to the animal form from time to time. The animal, after all, is where I began my exploration as a sculptor and will probably serve as a touchstone into the future.

Do you have a clear vision ahead for the sculptures you produce, or do you change tack from one work to another?
Generally I will work towards a single theme or idea and produce a body of work that reflects this. These themes develop subtly over the years rather than significantly from sculpture to sculpture.

I know you started your career as a painter, but for many years now your work has been manifested beautifully through the medium of cast bronze. This is what you are best known for, but do you work in other mediums, or plan to in the future?
I certainly still have a passion for painting, although I don’t do much because of the demands of working in bronze. I hope to explore painting again at some point in the future.