Nguizani Afonso Giaccherini Mfumu

 

©Nguizani Afonso Giaccherini Mfumu
Ansichten

Nguizani Afonso Giaccherini Mfumu

 
Drawing for Afonso means deeply connecting thoughts and emotions by suspending the conditioning of external reality.
When he draws, he sees the trace come out of the paper
in a connection between thought, sight, and action.

He describes it as an unconscious visual exploration in which the eye guides but, At the same time, guided by the result just created in continuous feedback that finds its meaning in the uniqueness of the present moment.

When deciding where to put the next mark, Afonso thinks and acts simultaneously (action Charcoal drawing). His drawing is free, it doesn’t follow any preconceived design constraints. Nevertheless, condensed in simple gestures, his technical and theoretical knowledge found its place.

The emotions that guide his drawing are often traces left by specific memories or impressions experienced: a conversation with a friend, a walk with a loved one, a basketball game, or everyday life actions.

He’s particularly interested in iconicity, in the search for the perfect shape through signs and marks. As each of us collects and interprets the information received from the senses differently, he thinks that it is only through common shapes that we share in our material world that we can relate and communicate. Communicate with others but also with ourselves since each of us constructs meanings that connect to our own world.

 
Drawing for Afonso means deeply connecting thoughts and emotions by suspending the conditioning of external reality.
When he draws, he sees the trace come out of the paper
in a connection between thought, sight, and action.

He describes it as an unconscious visual exploration in which the eye guides but, At the same time, guided by the result just created in continuous feedback that finds its meaning in the uniqueness of the present moment.

When deciding where to put the next mark, Afonso thinks and acts simultaneously (action Charcoal drawing). His drawing is free, it doesn’t follow any preconceived design constraints. Nevertheless, condensed in simple gestures, his technical and theoretical knowledge found its place.

The emotions that guide his drawing are often traces left by specific memories or impressions experienced: a conversation with a friend, a walk with a loved one, a basketball game, or everyday life actions.

He’s particularly interested in iconicity, in the search for the perfect shape through signs and marks. As each of us collects and interprets the information received from the senses differently, he thinks that it is only through common shapes that we share in our material world that we can relate and communicate. Communicate with others but also with ourselves since each of us constructs meanings that connect to our own world.

 
BIOGRAFIE

1997Born in Kinshasa (RDC)

2016-2020BA in product design at ISIA Roma Design Pordenone.

2020-2022The Basel School of Design (Hochschule für Gestaltung und Kunst Basel FHNW)

 
 

 
 
 
AUSSTELLUNGEN

2022Next generation HGK FHNW diploma exhibition

2016 HUMUS PARK (Land art)

 
 

 
 
 
 

Some technical notes

He uses different media and different materials to make marks.
He mainly used paper, glossy black paint, charcoal, and tape for color.

This setup allows him to draw on large and small surfaces wherever and whenever he wants.
He uses tape because it symbolizes the volatility of memory: emotional and important content
supported by a bit of tape becomes an unstable and temporary material.
Nothing is secure. Everything is in Work In Progress

 
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