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.