Kampala — Survival instinct stifles a creative mind

On many occasions when foreign connoisseurs and art lovers have visited some art galleries in Kampala to view particularly grouped exhibitions, they have often marveled at the extent of similitude in the works and consequently questioned whether all the artists attended the same school.

The many universityart departments and art academies notwithstanding, the element of diversity that is epitomised by "isms" and movements in other visual traditions has, since the advent of formal education, eluded Uganda's visual culture.

What we have become accustomed to one the usual conventional materials, social comment as the dominant theme and the female figure as the favoured content. This state of affairs is a direct contravention of the more vibrant and intense visual traditions elsewhere in the Western world, where matters of art are as capricious as daily weather conditions. As a matter of fact most of the Western Modernists ride under the slogan: "amputate tradition, torture the past, terrorise the present."

It is from this kind of attitude that the world of art has produced some of the most uncanny and provoking creations the world has seen. In the same token, the impulse to destroy was part of what made early modern art the guerrilla movement it was.

Tony Ojangole is among the horde of Ugandan artists who finds himself trapped in a web of convention that he got himself indoctrinated into during the many years in school as well as the strong tradition under which he operates.

Looking at his landscapes, still-life, wildlife and portraiture, he passes for a good artist that exudes talent and ambition. But that is as far as the compliment can go. Indeed his understanding of colour and semi abstract style can be quite alluring to the not so keen eye. For instance, his rendering of a crocodile portrait in a green monochrome and suspending it against a similar background of smoky brushstrokes is a bit of a stunning scene. Another flower vase holding a bunch of flowers also treated with carefree strokes of greens and blues makes a quick reminder about some works of the post-Renaissance masters. Countless other works stashed away in his studio in Entebbe, Kitoro zone can attest to the same.

Unfortunately, like many of his ilk, that's how far it goes. To the eye that has tasted the infinity of imagination latent in some creative artworks, the works nearly always leave the viewer with the thirst and urge to go beyond; To push beyond the obvious and deluge the viewer with the mind-boggling magic that art can be.

Perhaps Ojangole prefers to play it safe, or even dance to the tune of his clientele. He argues that artists who crave such off-the-wall ideas are already accomplished and have no rent, food, and other bills to worry about. He clearly states that his foremost objective as an artist is to make ends meet. An ostensibly credible argument there.

What we don't yet know, perhaps, is whether those artists that dare to set foot in the uncertain waters actually have their act together as far as their livelihood is concerned or simply thrive on courage under fire. The Dutch idol Vincent van Gogh did it all and ended up selling only one work in his entire career and even then bought by his wealthy brother, Theo Van Gogh. Although his works now go for millions of dollars, he died a frustrated man through suicide in the late 19th century.

Spanish painter, Joan Miro said in 1927, "I want to assassinate painting." Surrealism, he discovered, had limitations. He was ready for a radical change in art, but he realised that he would have to create it himself. He decided it would take the form of a crime. As they say, the rest is now history.

Tony Ojangole has a right to continue painting safe to keep putting food on his table but his potential as an artist could be best realised if he dares join the "mad lot" that Miro and Van Gogh represent.