Telting’s paintings are topical and relevant in their own right. I have discussed them from the point of view of Telting’s commitment as a Black artist, and I have linked his work to the concept of Black Aesthetics. I take it that, once his work is juxtaposed to works from the Stedelijk Museum’s permanent collection, new relations, perspectives and cross-pollinations come to the surface, and will continue to do so.
Artworks and projects that subtly weave in social and political awareness into a broader tapestry of our everyday human concerns have the potential to acquire more immersive and complex dimensions.
“The starting point of my work is what I refer to as a ‘love-note to my daughter’. I started capturing her everyday life as a child. I evolved my style through play and experimenting.”
There is a multitude of ways on how to make entry into Mlengeya’s world. We could start with the women in the work, young and beautiful, very reflective of the artist’s locality, Uganda for having one of the youngest populations and East Africa for having some of the most good-looking ladies on the continent.
I think Mali has everything to offer. In this culturally rich country, artists are very open, knowing how to share without condition. This makes us exemplary.