THE ART OF FEELING

Reimagining the way in which we interpret art:

Mongezi Ncaphayi, Details of Into The New I, 2023, Mixed media on stretched canvas, 170 x 145 cm.

When our words fail us, we turn to art to feel. But how can we describe and understand this ephemeral concept ? Great art does not express a solitary experience, it more-so establishes a baseline, whereby we as the spectator are united on a level playing field as we stand before an artwork.

I seem to keep asking myself, why is beauty no longer considered integral in art analysis? When did the art world collectively dismiss this concept as irrelevant? I propose that we ask ourselves: what does it mean to feel so overwhelmed by an artwork that it moves you, not to tears, nor awe, but towards introspection? I’m referring to the type of beauty that is all consuming, one which leaps off of the canvas and engulfs you. It could feel like a comforting embrace, or it may feel like a weight on your chest, drawing you deeper and deeper down or simply, a momentary relief from the everyday. Regardless of how it makes you feel, at least, it made you feel something. I urge you as a viewer, to stay with this feeling. Whatever it may be, stay with this intangible moment in time. I believe this to be an intimate rarity - feeling something, anything, so deeply.

I wish to explore the way in which we interpret art, and re imagine it. I’d like to place greater emphasis on the experience of intense feeling and the affect that it has on the spectator. By exploring the concept of fleeting sensitivity in relation to beauty, we can then observe the transient nature of these encounters and how they are heightened. The notion that meaning resides in feeling as opposed to given information is a concept which seeks to challenge the way we have been expected to understand and analyse artworks. Namely questioning the systematic, methodical approach which is often present in white cube spaces and deconstructing it, bringing about a new way of thinking and seeing. I believe that this can open thinking and change perceptions on the potential language used when describing artworks because when moving away from the realm of the academic a new canon emerges. One which focuses on how and why certain feelings arise when confronted with an artwork, is it due to colour use? Mark making? Is it reminiscent of a distant memory? By foregrounding these questions, an introspective analysis takes place where one is forced to examine themselves closely and profoundly. Through this process the viewer then starts to create a deeply personal relationship with the artwork, removing it from any predetermined frameworks and placing it in a new sphere. Therefore, by placing an artwork in a different interpretive arena any barriers that were present beforehand now disappear, bringing about an element of accessibility and relatability to the piece.

By returning to the core experience of being human: feeling, we are reminded of our own need for emotional and intimate connection. This speaks to our degree of sensitivity which is critical when we interpret artworks.

If we take into consideration our ways of seeing we are confronted by the fact that at the end of the day, there are no new ideas in this world, only new ways of making them felt. It is within this grey area where abstract artists thrive. We can breakdown ways of seeing by initially recognising that there is a childlike innocence in the act. A sense of enjoyment arises as we are free from any predetermined influences. For in that moment we have one simple task, and that is to look, just look. I implore you to ask yourself, what do you see before you? As opposed to observing what you think you see. Seeing comes before words. And although, this sounds like an easy task it is in-fact quite the opposite. When a piece is presented as a work of art, we unconsciously hold several assumptions which tend to cloud our judgement and experience of the artwork. A few of these include our assumptions on beauty, truth, genius and taste. If we push these factors aside, and if we focus on seeing and feeling, we are left with the artworks true intent. Which is that painting offers a quiet solitude which information never will. It is within this solitude that I find these small glimmers of soft, gentle, beauty. For me, it is as if I’m viewing art through a romanticised pink lens, where nothing else seems to matter.

And so, putting practise into action, what does it mean to have such an experience? I’d like to briefly share a recent encounter where I was left stunned by an artwork:

Mongezi Ncaphayi, Optimism, 2023, Mixed media on unstretched canvas, 200 x 250 cm.

As I entered the room, I was initially taken aback by the sheer scale of the artwork. It’s presence was astounding; it commanded the space it occupied by simply existing. The work was not loud, nor overpowering, its subtle beauty and elegance was its greatest strength. Appropriately titled, Optimism (2023) the work displays a perfect balance in harmonies between colour, composition and form. The artist successfully contrasts elements of chaos and calm, presenting a multi faceted piece. I stood directly before the artwork speechless, allowing the colours to envelop me as a wave of overwhelming awe passed over me. I simply allowed myself to feel. To feel sadness, intrigue, beauty, comfort and loneliness. The artwork invited, and then more forcibly pulled me into the hues of emerald, violet and blue. I felt as if I was swimming in the colours mindlessly but also with the intent. Half of the time floating, the other half sinking. Beauty and pain, both visually interlinked. The intricate mark making showcases the delicacy and care of the artist. Each mark intentional, and integral to the success of the piece. As the sharp lines cut into the aurora like background questions of transcendence arise. And so, I was left to dissect the concept of time and space. These questions fully absorbed me into the work; into a different realm whereby a calmness dominated the atmosphere and where soft lines of yellow orbited the canvas. The rhythmic flow of paint deeply humbled me, and left me wondering on the poetics of attachment. Questions of love arose, and the notion of togetherness. It is here, within this moment where I believe true power and meaning lie; in having the ability to construct independent, creative conclusions.

My final thought that I’d like to leave you with is this: life imitates art, allow it to do so.