Ephrem Solomon set out to introduce me to the group of artists he grew up with and who, like him, use their art as a platform for social commentary. I return home grateful and fulfilled; the visits I have made with him have brought me closer to the heart of modern Ethiopia.
Puryear manages to make sculptures that seem abstracted and minimalist, but to which, thanks to an almost careless symbolism, he is able to give a meaningful content. With a narrative that moves one.
“Some gestures and poses are made exclusively in front of a camera. That makes the camera a unique piece of equipment. I think it is very interesting that one is able to see relationships between people take form, or surface when a camera is involved. Furthermore, posing for the camera has a unique history which is highly intertwined with technical concerns. In the past one had to sit still for a long time, due to technical requirements. People nowadays still take similar poses while modern day techniques do not ask for sitting still as long as it used to be.”
“Well you know, sometimes I get so irritated with audiences, especially male audiences who will say stupid things like “that’s a nice ass” or something like that. For me, I think as long as the performer knows exactly what the intention is with the body everybody will get over everything else. There are some people who just don’t get it, and that’s ok too. I know what my body is loaded with. I know what it is and I know how to use it. I know I’ve gotten to the point where I know how it works. I don’t necessarily care anymore.”
Successful artworks have the ability to instruct or persuade the populace, to give new meanings or perspectives on issues, to provide new knowledge or to build ones capacity in empathy for a certain cause. The use of art can provide a setting in which people can discuss issues, form connections, and potentially take action. Just how much people take away from this experience is difficult to tell.