“Art is one of the things that doesn’t choose the audience: the audience chooses it.” – Nelson Makamo on his work.
On Wednesday afternoon, world renowned visual artist Nelson Makamo, who’s original art pieces have made it into the collection of the likes of fashion icon Georgio Armani, singer Annie Lennox, film director Ava Duvenay, world famous media powerhouse Oprah Winfrey and has had his striking mural featured on the cover of TIME Magazine — sat down with the the Harvard University Center for African Studies in an hour long conversation that explored the complexities of the topic “Art As Activism”. The hybrid event which was available to in person attendance, was streamed online granting access to attendees across the globe to listen and engage with Makamo who vibrantly unpacked the topic of discussion. The event streamed at 15:00 PM Eastern Time in the US and Canada (22:00 pm CAT) via Zoom and Facebook and featured an expansive range of questions from different perspectives in relation to African artistry and its inception in both the Western world and African landscape. If you missed the opportunity to watch the live stream in South Africa, here are a couple of take out points that truly resonated in Nelson Makamo’s definition of the lexicon of African Art and Culture.
On the topic of the significance of African art in relation to a global presence, Makamo responded by stating the following:
“Historically we were never recognised. It is amazing to see that these days we cannot be ignored. We have nothing against the Western world and how they have perceived us [through out] history, we are just asking to not be ignored from them because we have so much to offer.”
“A lot of artefacts are still attached to our heritage and they need to be brought back home.”
On the topic of there being a possible differentiation between how the South African audience and the Western audience perceive the depiction of the African youth featured in his art work:
“The work is perceived the same because in my work I have restored dignity within the subject. Although I was inspired by people from Africa, even Westerners can see themselves in my work regardless of the race that is depicted in front of them. At the Blue Exhibition it was an emotional experience even for people that could not [realistically] relate to the subject. They have just been reminded that there is another human that exists who is just like them regardless of skin colour.”
On the topic of a significant amount of African artists using historical references in their art work:
“My practise has never been rooted [in] academic research, to sort of put it in that way. I am a witness of today. My references are from today and that is one thing I am very confident about. Also there are so many of us, imagine if we had to do the same thing ? I think we also forget that art is not an extreme sports, there is no champion. There are so many different artists from the continent who have a different mission. Some go back in time and rectify certain historical chapters and others take inspiration from today so that they can prepare for those who want to continue tomorrow. I am part of those who speaks on Africa today and how far we have come as a continent.
On the topic of using children as his subject matter:
Historically when you look at art using children is rare because it has always been a sensitive [subject] when you speak about children. They inspire us and there is always a dignified way to show them. That [realisation] was the turning point for me as an artist that put me to where I am today. When I changed my subject the world suddenly started paying attention. Often children are the people that don’t have voices at all and I felt like in my work I could give them voices. Also it was not only that, but it was for African children to see themselves in art. There is nothing more empowering than when you see yourself from a painted perspective. In photos you can easily recognise yourself, but if someone has taken the time to paint you that is another form of flattery. I thought it was really important for an African child to see how [significant] they are and the only way for me to honour them is by painting them to remind them that your image gets to be a symbol of importance and not an image that is a source of charity.”
On the topic of questioning his belonging to his hometown as he gains success and relevancy in the Western world:
“As you grown bigger and bigger you will feel the disconnect but when I go back home and walk down the same roads I did growing up I realise that there are many people like me that percentage wise will not be able to leave that environment. Our political leaders do not challenge our people to make them aware that it is our people’s responsibility to try leave that eneviroemwnt. I believe that the role of art in my life is to go back to my community and make a change. That is how I stay connected to them. The province that I was born in has so much potential but the problem comes back to education which is an issue the content still faces.
To hear more from the Art as Activism conversation between Nelson Makamo and the Harvard University Center for African Studies watch: HERE
Art work courtesy of Nelson Makamo
