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Born in 1923, Modderfontein, Johannesburg - died 2014.

Born and raised humbly, Steyl grew up herding sheep on his parents’ farm, where his love for nature and ability to observe, was shaped. In later years he worked for the Department of Agriculture. He always carried a sketch pad with him as his job demanded of him to travel frequently. His sketches in his personal work pads were only done in Indian ink, pen or pencil, due to the fact that he was colour-blind. However, he did paint in colour, but became better known for his sculptures and woodcuts.

Steyl viewed his own work as semi-abstract, but admitted that he never diverged from nature. All that is known about Wynand’s works is that he, much like Pierneef, liked to create art in nature. Steyl had a great love of nature and natural landscapes. His passion for drawing began in the Karoo and he never stopped after that. He often went on trips to the Kruger National Park which is where he would carve and sketch. Each carving captures the moment and presents itself as almost three dimensional.


 


 


 


 


 


 


 


 


 


 


Born in Australia.

Trudy is a postdoctoral Fellow in FABI. She grew up in Western Australia where her fascination with the natural world led her to study science. She worked in the field of forest health research in the south west of the state prior to joining FABI. 

Despite working as a research scientist and having had no formal art training, she has always enjoyed drawing natural forms. In 2016 she attended a botanical art workshop with Gill Condy (SANBI’s resident botanical artist) during which she developed greater confidence, and a deeper appreciation of botanical art as a means of merging her passions for nature, science and art. One of her artworks was displayed in the Everard Read Gallery in Johannesburg in 2018 as part of the global exhibition ‘Botanical Art Worldwide’.


 


 


Born in 1950, Makapanstad, Pretoria. 

As a child, Pudi lived a life of poverty, but often watched when his maternal grandfather, David Motladi, a carpenter, was at work. In order to survive, Pudi herded goats for relatives and thus only started school at age 11. Frustrated by his academic deficit, he soon dropped out, joined a local gang and became a street fighter. 

A forced removal relocated Pudi’s family to Ga-Rankua Township outside Pretoria, and the separation from his gangster friends had a positive consequence, as at age 15 he met a teacher who encouraged him to take up wood carving. He went back to school at age 21, but again became despondent and dropped out. At that point Pudi sought out the company of other artists for advice. He met Motshile Nthodi, an artist who had contact with the Schweickerdt Arts Gallery in Pretoria. Nthodi was impressed by Pudi’s work and helped him to stage his first one man exhibition, which launched his career as artist. 

Pudi’s works are classified as African expressionistic, his forms are distorted and exaggerated. His wood carvings depict humans in their most abstract forms. He rejects the forms and conformity of naturalism, yet aim to evoke personal emotions. His works are reflections of his upbringing. His naivety to financial security motivates the style and appearance of his works. One of the most prominent figures in his works is the black male figure in his environment.


 


 


 


 


 


 


Born on the farm Klipwerf, Agter-Hantam, Calvinia, in 1926 and died in Stellenbosch, 2016. 

Appie was a self-taught artist and was married to botanical artist Elise Bodley. He had 15 one-man exhibitions between 1952 and 1968 and five exhibitions on general appeal between 1991 and 1996. A few collectors regularly bought his work, hence the low number of exhibitions in later years. His paintings, outside of private collections in South Africa and abroad, are not well known. 

Human figures feature strongly in almost all of his work. Early paintings are reminiscent of aspects of Hieronymus Bosch and also later, the surrealist Salvador Dali.  Trees form the basis of many of his later works (in the period 1990 to 2010), often with autumnal colours, human and animal figures and a dream-like, mystical atmosphere. 

The two paintings of Appie on display are on loan to FABI from the collection of his son, the well-known botanist, Ben-Erik van Wyk.


 


 


New Publications

Botha I, Maduna SN, Hagen SB, Lall N, Berger DK. (2026) 3RAD-guided SNP discovery for species identification and conservation of the medicinal southern African tree Genus Greyia Hook. & Harv.. Ecology and Evolution 16(5):e73412, 1-29. 10.1002/ece3.73412
Masuku SK, De Vos L, Thabiso TE, Steenkamp ET, Wingfield BD. (2026) Baseline sensitivity of South African Fusarium circinatum to tebuconazole. Journal of Plant Pathology 10.1007/s42161-026-02197-w
Fitawek W, Anjulo A, Healey M, Lawson SA, Hurley BP. (2026) The Moringa value chain in Ethiopia and the socio-economic impact of pests and diseases. CABI Agriculture and Bioscience 10.1079/ab.2026.00041 PDF
Lynn KMT, Wingfield MJ, Oliveira LSS, Alfenas AC, Ferreira Alfenas RF, Marincowitz S, Barnes I. (2026) Phylogenetic and population genetic analyses reveal patterns of divergence amongst isolates of Ceratocystis manginecans. Ecology and Evolution 16 10.1002/ece3.73652
Dlamini CM, Matongera TN, Lawson SA, Healey M, Tanga A, Regasa K, Kassie W, Hurley BP, Germishuizen I. (2026) Modelling spatiotemporal dynamics of wattle plantations in northwestern Ethiopia using harmonised PlanetScope and RapidEye imagery. Trees, Forests and People 25:101293. 10.1016/j.tfp.2026.101293 PDF