Two artists, each effectively navigating the metamorphosizing artscape in Africa, meet for a tête-a-tête before the Investec Cape Town Art Fair 2020. Artist/art correspondent Zihan Kassam looks at the philosophy behind Stanislaw Trzebinski’s imaginative bronze sculptures and asks about his new life living in South Africa.
It would be a shame if the festival is discontinued before it has reached its potential, and before we can see the impact it can make. As for plein-air paintings, even the harshest of critics can succumb to that one nostalgic picture. Plein-air paintings call attention for the places they depict. They encourage a dialogue about the things that happen there. In an ideal world, the Lamu Painters Festival would work to create awareness about Lamu and to promote the preservation of a special place.
He uses comedy to shine a light on the seedy aspects of modern Kenyan life. Those who do not pay attention to his message and those who cannot digest the satire tend to misconstrue his motives.
A collector, a historian, an arbitrator and an advisor, each of his roles stems from his genuine interest in the arts. The functions Thom Ogonga assumes are all indicators of the renovations and revolutions occurring on the local art scene. Add to the list the designation ‘voyeur’ as Thom Ogonga beholds a lucid vision of the abundant future of art on his side of the globe.
“Emerging artists (…) are asking important questions about the purpose of art and what it can achieve. Using new techniques and mediums, they are creating artwork that contributes to the socio-political discourse in the country. While the youngest artists struggle to find their voice, it is a rite of passage that certainly pays off over time.”