Zamani makhanya post democratic identity art in south africa

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Landscape painting has a very strong colonial history in South Africa.Does your work address it or acknowledge this history and why does this not seem to dull your enthusiasm for painting as a medium.They encouraged us to express ourselves freely and we grew to hate any prescription or restriction on what you as an artist must do.We saw them exercise their freedom of expression in the paintings they produced and they encouraged us to do the same.My experience and art education is Western and I am also a Christian.I adopted both a Western God and a Western form of art production.Why do you choose to work with such a near monochromatic palette? Your application of the paint is rather thick and confident and there seems to be a lot of build up of paint, layering, as opposed to simple ‘drawing’ of the seen world.This points to an emotive and possibly metaphorical use of the medium in my mind, am I mistaken? Does your subject matter – seascapes, landscape, colonial buildings, carry significance beyond being a simple visual point of departure?

zamani makhanya post democratic identity art in south africa-87zamani makhanya post democratic identity art in south africa-77

He stressed the importance of knowing your materials as an artist.He stressed love for what you are doing – whether you are painting a model or still life you needed to love it.These gentlemen imparted a love for the medium that has survived for many years.In my paintings I consciously try to create a world that is different from the seen world.Objects in my paintings behave differently than in the seen world.

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