Deep and meaningful conversations in art

ART | DOMINIC MUWANGUZI | Years back when I started writing about art, I was always fascinated by the way artists applied colour on canvas and the technical competence of their practice. I was particularly drawn to the work of David Kigozi with his impasto technique that evoked a sense of vibrancy and energy in his compositions.

It also made me feel emotionally connected to his art because of the freedom with which he painted: unfinished drawings of children which invited me, the viewer, to complete in my mind. There were certainly more artists that captured my attention along the way: Geoffrey Mukasa’s red, blue, orange paintings which illuminated Tulifanya Art gallery every month of October, Eria Sane Nsubuga’s caricature like paintings that reminded me of child play art and Jjuuko Hoods’ wildlife paintings and sculptural works that reflected him as a genius in studio deftness. Each of these artists stood out on their own and their indomitable character on canvas endeared them not only to me- in spite my then amateurish appreciation of art- but also to the experienced eyes of the several expatriate art collectors.

As I strode on, I realized there was much more imbedded in their art than the bright palette and the brilliant showcase of technical proficiency on canvas. Perhaps, anyone could do that if they put in a lot of effort in their studio practice. What I hadn’t observed- unluckily with my inexperienced eyes- is the singular authenticity of their art which was a secret that kept the collectors flocking to the gallery to purchase their art. For example, while Mukasa paintings were washed in a bright and warm palette which could be connected to creating a sense of warmth in his paintings and emotionally connecting to his audience, these figurative works were a metaphor to his personality and his immediate surroundings. Mukasa’s background was a unique one having been raised in an upper class Buganda household. His mother, who was a daughter to one of the chiefs of Buganda, would often send him on errands to the Kabaka’s palace and these frequent visits deeply exposed him to the traditions and customs of Baganda. As such, Mukasa’s paintings often carry the cock as a symbol of patriarchal power and authority in the Kingdom. The Kabaka of Buganda as the most powerful and authoritative individual is bestowed on the title Ssegwagga (Cock).

It is this metaphorical representation which elevates Mukasa’s work to the level of extraordinary quality. The paintings can be interpreted as an archive of social cultural heritage enabling the outsiders to connect deeply with the kingdom. More so, it offers opportunities for scholarly studies on the traditions and customs of the Kingdom and how these impact the citizens. This perspective resounds one of the importances of art to society: cultural preservation. When culture is preserved, a community’s identity is promoted, especially within this era of globalization where they’re increasing shifts in the way individuals or communities perceive themselves. Equally, David Kigozi’s impasto technique on canvas and signature of incomplete drawings convey a message beyond masterly in studio practice and intuitive artistic practice. It speaks of the ardent desire by the artist to explore and comment on the social lifestyles of individuals within his immediate surroundings. The expressive brush strokes inform of thick paint are a representation to the bold and unique forms of expressions carried through the different activities performed by the community. The choice of children, typical of their powerful expressive behaviour, underscores his subject matter.

When a writer encounters these art works they may be primarily drawn to them because of their aesthetics or exploration of technical attributes like form, light, proportionality and perspective. This is how I used to interact with the art works without making an effort to interrogate them beyond the usual form of art appreciation. Many years later, after extensive exposure to different types of art and engaging with the artists deeply, I have acquired the skill of appreciating a piece of art beyond what everyone sees. When I look at an art work I challenge myself to form deep and meaningful conversations around it; giving it a cultural-social, political meaning that makes it more valuable than possibly anyone could imagine.