Robert Hodgins: Graphics

Attorney-at-Law (1986) is a hand-coloured etching that reveals Robert Hodgins' satirical and acerbic wit. Created during apartheid-era South Africa, it serves as a social critique, addressing themes of authority, corruption, and the absurdities of power. Hodgins often portrayed authority figures as grotesque and morally compromised, and this work aligns with his broader commentary on societal hierarchies, particularly those complicit in apartheid. The title, referencing legal power, contrasts sharply with the figure's distorted head rendered in vivid pinks and yellows, evoking decay, inner turmoil, and corruption. A dark, textured background isolates the figure, emphasising its alienation, while the bold pink text, "ATTORNEY AT LAW," underscores the disparity between presumed prestige and grotesque reality.
 
Through grotesque realism, Attorney-at-Law critiques institutional authority, exposing themes of moral decay and hypocrisy. The chaotic colours and distorted imagery reflect the complicity of the legal profession in enforcing systemic oppression during apartheid.
 
This etching was produced at The Caversham Press, South Africa's first fine art collaborative printmaking studio, under the guidance of master printmaker Malcolm Christian. Known for its commitment to traditional hand-printing methods, the press rejected mass-production techniques, prioritising quality and supporting both established and emerging artists during a time of limited resources.
 
The hand-colouring personalises each print, making it unique within the edition. Hodgins' blend of traditional printmaking with painterly techniques is emphasised by the inscription, "This hand-colouring unique to this print," alluding to the individuality of this work.

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The Senator from Mississippi (1987) is an etching that critiques authority, identity, and societal structures with Hodgins’ sharp satire. Created during apartheid-era South Africa, it reflects systemic corruption and hypocrisy on a global scale. While rooted in South African politics, the reference to a U.S. senator draws parallels between the racial inequality and entrenched power dynamics of apartheid South Africa and the American South.
 
The pin-striped suit and tie—recurring symbols in his work—represent political and corporate authority, while the distorted, swirling head conveys a loss of identity or integrity. The grotesque abstraction of the senator’s face undermines the traditional dignity of political office, with the reference to Mississippi—a state historically associated with racism and conservatism—reinforcing themes of systemic oppression.
 
Hodgins juxtaposes precise line work in the suit and tie with chaotic, fluid strokes in the head, highlighting the contrast between external order and internal chaos. The stark black-and-white palette intensifies the severity of the subject, stripping the figure of humanity and focusing attention on its symbolic critique of systemic power. Although referencing a U.S. senator, the work reflects Hodgins’ lived experience of apartheid, placing the senator as a universal stand-in for corrupt leaders worldwide.

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These Sundays, triptych (1997/8), is a vibrant work comprising three panels that blend screen-printing and lithography, showcasing Hodgins' mastery of printmaking. Created in post-apartheid South Africa, the work reflects the contrasting feelings of optimism and uncertainty that characterised the time, and the lingering challenges of that era.
 
Hodgins captures the banality and poetry of everyday life, with Sundays serving as a metaphor for stillness, routine, and the passage of time. Architectural and landscape elements, such as shops and fuel stations, ground the scenes in specific cultural contexts, highlighting the interplay between isolation and mundane activities. Sparse buildings and wide-open spaces suggest the duality of Sundays as both restful and solitary.
 
The triptych format creates a fragmented yet interconnected narrative, with each panel standing independently while contributing to the whole. The combination of screen-printing and lithography adds rich textures to the tactile quality of the built environments and the ethereal atmosphere of the open landscapes. Hodgins' balance of detail and abstraction invites personal interpretation and emotional resonance over explicit storytelling.
 
The ambiguous title, These Sundays, encourages the viewers to reflect on their own experiences and associations. Rooted in the context of post-apartheid South Africa, the work's focus on ordinary scenes conveys universal themes of routine, rest, and time. It may also serve as a metaphor for South Africa's contemplative process of rebuilding and redefining its identity during a time of social change.

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