When I mentioned that it was traffic or cars, you said, “No, it’s speed.”ĭK Right. And yet, from the other side of the room, it’s an undeniably specific image. I mean, when you’re sitting as close as I am to one of your paintings, what you see is the material, the strokes, the painterly reality. I don’t know if they’re representational, either. My paintings are not abstractions, they’re not. There are two strands: there’s constructivism and then there’s something that comes out of Cubism. GM So why work for a very specific image and avoid that kind of specificity? They are not abstract paintings.ĭK Well, the literal definition of the word “abstract” is “to take from it.” There are two kinds of abstraction: abstraction that’s taken from nature and non-objective abstraction. If the viewer stares long enough, the painting comes alive and stares back at them.ĭK It would cause you to get much too specific you’d lose sight of any kind of generalizing, of an overview. They were illuminated like stained glass, from the back, which goes back to an Abstract Expressionist idea of the painting coming alive, anthropomorphizing, to become like two eyes in a face. For me, it was very radical because they were not illuminated by conventional exterior light sources. I would paint windows or street lamps illuminated at night-then I started painting the oncoming cars at night. I would do a detail of a painting, to understand it anatomically. And then, the metaphor continued with streaks of cars running, red tail lights, blood running through the veins and the city as a big heart. In other words, they began to look to me like arms and legs, body parts, people splayed out. … Intersections, street corners,and streets began to take on the appearances of things they weren’t. Kunyenyeza Ezikhotheni (Voices In The Wilderness)by Duma NdloruĪ Dedication for H.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |