Artistic Practice, Appreciation and The Influence of the Public 2 of 2
(An experiment where many artist were paired with a non-artist during the production process)
Good to say that my VP is very much conversant with artists in Nigeria and the art world. So we started on a good note. Though in a very subtle manner, I allowed him to reveal his thoughts and what he understood about my project. Somehow we connected.
The next challenge is creating the time to meet face to face as he had his primary job to attend to and I had mine too. Therefore there was a need to be a team player, to show tolerance and patience as expected from both sides. We strived and both of us learned new things from this forced ad hoc marriage. We were able to flow together eventually.
Generally speaking, there is a tendency for either member of the team to be tempted; to feel like a headmaster of a school, giving orders to a pupil. It all depends on the two individuals.
I think this unique interaction can only work very well in the event of a work that has been originally initiated and put in process by an artist - though before completion - prior to a third party coming along. Thereafter a collaborator - such as the VP- can only come in to suggest his feeling to influence the final production of an artist"s work. I can"t imagine otherwise.
To avoid friction it will simply be pretence galore on both sides if the artist is forced into this kind of situation. He may not want to append his signature on the final work, as he wouldn"t be fully convinced it was his original idea that was on display after all.
There is a solution for this novel methodology of art production. The solution I propose is this: A more honest and spiritually satisfying work on both sides will evolve if the artist believes in this concept of collaboration as he would on his own volition genuinely seek a third party that he fancies, to have an input in his work. It can be likened to a glamour photographer who seeks an agreeable girl-next-door to pose as a model to allow him try new compositions and techniques.
As for me, my Viewer Participant came up with his observations and personal interpretation of my work both verbally and otherwise. His written submission he allowed me to edit. This ensured we met up with our objective.
Possibly we were both lucky in that we consciously showed a sense of maturity, understanding and respect for ourselves, and the work at hand. (2of2)
Muyiwa Osifuye is a photographer based in Africa. He works within the thematic, documentary and commercial modes. (catch a glimpse of his limited edition works at http://www.pictures-of-nigeria.com) His documentary works explore the rich cultural heritage of his country, Nigeria. Major international exhibitions and events continually show his thematic works which address cogent issues that he feels are necessary for a global understanding. He is a regular columnist in a prominent Nigerian newspaper and a budding writer; sharing his thoughts and perception about humanity as a whole. Be on the look out for a new book of photographs on the rich and diverse cultural heritage on a Black African
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