MA
Visual Enquiry: Reflection on Theory and Practice
Generating and selecting ideas
My initial ideas come from personal thoughts, experiences and
sometimes dreams plus experiences of others; usually fuelled by my society. The
criterion for selecting or rejecting my images or ideas is based on how much
the idea personally connects to me and whether it adheres to what I want to
express - with a quest to execute fluid images that spontaneously portray my
intrinsic feeling. My ideas are inspired by the human form and it’s energies -
sometimes I use reference through photographs and at other times I use sketches
done through quick observation and also from my imagination; with a quest of
not being too elaborately pictorial but surge for self expression and at times
symbolic and spiritual imagery. I normally ‘marinate’ an idea in my mind for a
while before I work on it; and at times when I get stuck, I usually spend time
with the artwork by having it in front of me as I do other things like watching
TV or even as I have a meal. This creates a personal retrospection and
communication with the artwork as I question, wonder and think outside my
studio setup. As I progress, I would like to explore the possibility of
including a multitude of imagery in my paintings that holistically work well
together to illustrate my perception, self and values; plus to also include
mixed media and a variety of materials beyond my usual acrylics with a vision
to work more innovatively with my acrylics by exploring varied techniques. I
choose to use acrylics due to their quick drying nature that allows me to work
spontaneously.
Contextual research
My local influences would be the late Zambian artists like Akwila
Simpasa and Shadreck Simukanga (my late mentor); and on a Western arena I
appreciate the artwork of Chagall and Degas. My work draws on these influences
mainly through execution more than subject matter. My artwork draws on
Simpasa’s visionary yet symbolic or metaphorical drawings and paintings that extend the ability to communicate, heighten meaning
and add depth to expression. Simukanga’s figurative work and that of Degas
stimulate my love for human body language and figurative expression. Chagall’s
dreamlike imagery taps into my symbolic and spiritual imagery of things I dream
and imagine especially when I render such imagery as inserts in my artwork in a
personal cultural way. For resources, I did not
have the privileged of meeting Akwila Simpasa but have had contact with his
artwork in collections locally, while for Shadreck Simukanga I was an
apprentice of his in mainly drawing. As for Degas and Chagall, I have been able
to view their artwork in books as well as online; I think I may have also seen
few of their pieces in a museum or two in Europe or the US. I would position my
artwork as African contemporary expression yet exerting universal appeal.
Evaluation
My framework for making judgment about the work of others would be to
align the connection between their personal artistic expression and their personal
artistic philosophy. I am always interested in knowing the philosophical depth
of an artwork and not merely interested in the aesthetic part of it. I can
tell if images in my work are successful or not if they satisfy my personal quests
and perception. I can compare my work to that of others as being up-to-date and
with the times while mainly adhering to a gallery setup. In my current work, I
have been successful at asserting what I want to express but need to add a
multitude of imagery connected to self, which would heighten my executions and
compositions.
Materials and techniques etc.
I decide whether a
material is appropriate or technique is appropriate by experimenting with it
and exploring its receptiveness and limits. The material or technique has to
also adhere well with the idea I envision to execute. Sometimes, I feel I limit
my own choice of materials and or techniques. I would like to push acrylics to
another level and explore possibilities of adding waste/found materials in my
artwork.
Communication and intention
In my artwork, I aim to
convey personal and societal messages using imagery but I am slowly also
looking at the possibilities to use text, collage and other forms of
expression. The intention of my creations is to expose my reflexive thoughts to
any viewer and this is manifest through subject matter, expressive rendering
and allegorical image expression. The audience for my work is usually gallery
patrons since most of my artwork is viewed in my studio space and gallery
settings. I always have my artwork critiqued by non-artists or ordinary people
to get a view from a non-creative person; and at time I also appreciate the
critique from artists and if possible, curators. I always take criticism well
even if it is negative because I believe that insightful criticism creates
thought and poignant reflection that inevitably helps to direct an artist.
Critical thinking
My valuable resources
thus far has been the research I did on the symbolic scripts of the North-western
part of Zambia where I adopted and incorporated this form of expression and the
spirituality of this region into some culturally inspired artwork. I often have
a sketchbook that I use as my thought process for ideas and sometimes write
down stuff while researching my own societal environment and my mental
environment. Coming from a conservative society, sometimes the artworks I have
exhibited in my exhibitions have had sexual connotations that have raised
eyebrows and public questioning – though to me this reaction is expected and
welcome. Currently, I am working towards the infusion of ethnic forms and
imagery from my African identities and infusing these into my work and I am
currently finding this rewarding.