GUY DU TOIT | Stretching Hare | | Everard Read London

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GUY DU TOIT, Couple on a Bench

Bronze, 133 x 136 x 130 cm

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GUY DU TOIT, Hare With Balloon ||

Bronze, 156 x 44 x 83 cm

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GUY DU TOIT, Hare with Binoculars II

Bronze, 150 cm

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GUY DU TOIT, Work From Home (medium)

Bronze, 117 x 40.5 x 72.5 cm

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GUY DU TOIT, Folded Arms on Knee

Bronze, 151 x 67 x 85 cm

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GUY DU TOIT, Hare Reading

Bronze, 161 x 61 x 83 cm

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GUY DU TOIT, Arms Folded Legs Square

Bronze, 51.5 x 17 x 25 cm

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GUY DU TOIT, Leap Frog Hares

Bronze, 59 x 28 x 28 cm

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GUY DU TOIT, Hare on a Cone II

Bronze, 67 x 33 x 33 cm

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GUY DU TOIT, See no evil, Hear no evil, Say no evil (Three thinkers)

Bronze, 24 x 25 x 11 cm

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GUY DU TOIT, Boxing Hares Maquette

Bronze, 63 x 50 x 21 cm

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GUY DU TOIT, Dancers

Bronze, 24 x 28 x 9 cm

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GUY DU TOIT, Hugging Hares

Bronze, 24 x 21 x 8.5 cm

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GUY DU TOIT, Hares (M)

Bronze, 25.5 x 20.5 x 9 cm

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GUY DU TOIT, Wild Story

Bronze, 21 x 16.5 x 10.9 cm

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GUY DU TOIT, Offering

Bronze, 27.7 x 9 x 8 cm

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GUY DU TOIT, Stairs Crossing

Bronze, 26 x 6.5 x 25.5 cm

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GUY DU TOIT, Showman Hare to the Stars

Bronze, 34 x 10.5 x 13 cm

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GUY DU TOIT, Showman Hare on Stairs

Bronze, 35.5 x 11 x 13 cm

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GUY DU TOIT, Showman Hare to Crowd

Bronze, 34.5 x 13.5 x 22.5 cm

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GUY DU TOIT, Hare Dive off Tortoise

Bronze, 22.3 x 15.4 x 17.9 cm

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GUY DU TOIT, Lounging on Tortoise

Bronze, 9.5 x 9.3 x 24.7 cm

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GUY DU TOIT, Stretching Hare

Bronze, 13 x 25 x 8 cm

‘Guy du Toit’s hares have a lightness of being – they dance, they fly, they sit pondering their thoughts. They are like quick sketches in the landscape, something glimpsed out the corner of the eye, like a flash of truth.’ – Wilma Cruise, artist

Du Toit uses a wide range of media in his sculptures, including bronze, stone, wood and steel, and draws in pen, ink and charcoal. He has exhibited extensively, both locally and internationally, and has been consistently supported by private and public collectors, institutions, academics and fellow artists. Du Toit’s apparent irreverence can obfuscate the fact that he is undoubtedly one of South Africa’s most accomplished sculptors. ‘Liberated’ (as he says) by the advent of democracy in South Africa from having to concern himself and his art with the notions of identity, he has happily turned his attention to ‘less provincial’ pursuits like revelling in form, concept and media for their own sakes. Under Du Toit’s deft manipulation, the hare has come to stand as a surrogate for our human existence, as well our relationship with the natural and social world, allowing us to smile at both it and ourselves. Du Toit’s hares move through their world – on foot, on wheels – with a sense of joyful aimlessness, ears blowing in the wind, arms waving in the air. Some are dancing, some have taken a moment to rest, considering their next destination.