Interview with Herman Mbamba

I came to Norway in 2003 to study at the Academy of Fine Arts in Oslo. Before that, I lived in Namibia, a huge country geographically with a small population. Prior to moving to Norway, I studied at the John Muafangejo Art Centre in Namibia. It was more of an informal study period, during which I mastered the technique of graphic cardboard printmaking – a technique quite unique within Namibia. I came to know about the academy in Oslo through personal interactions during an art residency in South Africa. At the time I knew very little about Norway. I applied to the academy in Oslo anyway. And then in 2003 I arrived to study for the next five years. After I finished my studies, I decided to move to Haugesund as a result of family, and have been living here ever since.

I do not recall any artists around me as I grew up in Namibia with my immediate and extended family. That said, I always had a keen interest in all things creative. The question of being a professional artist, I suppose, came much later. I mainly drew, as this was the most cost efficient for me. I came to hear about the John Muafangejo Art Centre (JMAC), through bizarre circumstances, and there I was introduced to the formal basics of drawing before I advanced to printmaking. By then, I still had no interest in painting. The environment of the school was focused on printmaking, which at the time was more appealing for the majority of black artists. There was a solid market for this art form, thus many of us opted for it. During this period, much of the subject matter often pointed towards socio-political and cultural themes. With regard to what inspires me within the context of art making. Well for me, there is no direct answer to this. But I can say I’m more fascinated by the absurd and its role or function in forming meaning.

Throughout the last few years, both painting and drawing have always been present within my practice. It’s only recently that I started to closely focus on both simultaneously. You mentioned the intuitive and the material qualities (rough, painterly gestures) with especially with regard to the paintings. It’s no coincidence. Of course the canvas material is different and is filled with so much history, in contrast to the fragility of paper. Yes, it is partly true that I often approach the canvas surface by way of intense physical engagement. At times the blank canvas installs some form of fear as it awaits my interaction. In doing so, I rather consider the surface on the blank canvas to be an invitation to first be physically involved and then to be mentally present. And yes, there is something about rhythm. In my artwork, the idea of rhythm is closely tied to movement. Therefore the flamboyant presence of vivid colours is apparent within my work, and is precisely connected with rhythm and movement.

I already spoke a little bit about the difference between drawing and painting. Starting with the differences material surfaces subsequently leads towards the end results of each artwork. In reference to the recent body of work where the figurative expression is more emphasized, the emphasis is clearly visible in both mediums; drawing and painting. I clearly recall at the beginning of last year, after many years of solely focusing on painting, there was a need to rejuvenate an old form of language. And thereby I decided to return to drawing again for a while. However I desperately search for a space to include painting into my newly discovered paradigm. So the medium of drawing presented a space where I could think about painting differently. For me, it’s important to establish some form of symbiosis in the paintings and drawings. I achieve this through way that I make use of either the brush or the marker – the artwork emerging in the interaction between the surface and my presence. With regard to my colour usage and the choice preferences, in certain circumstances I would envisage a pallet of colours for a particular narration. During the working process I would constantly shift between a wide variety of colours. I challenged myself to work with a colour palette untraditional to me. This functioned well in some bodies of work. However for other, it seems that certain colours are significant and archetypal of my form of expression, be it painting or drawing.

Yes for sure, without a doubt. In retrospect, for many years I focused primarily on the medium of painting. As a result, much of my artistic expression leaned heavily towards the non- representative. However just recently, (in less than two years), I again returned too the medium of drawing, and simultaneously the re-introduction of the figure became more apparent. And therefore in relation to this exhibition, the presence of figurative forms is more dominantly represented within the drawings. You particularly mention the presence of eyes and hands. Yes of course, those features are showcased in various gestures in many subtle ways, and represent narrative notions. So in essence, the presence of the figurative elements broadly amplifies and demands a strong presence as you mentioned.

Yes it can be so. In reference to works within the exhibition, I think of the painting titled “Shopping in Times” where the forms clearly resonate with the title. I would argue that its probably one of the paintings in which the figurative forms are most dominantly present across the whole surface. The array of figurative elements engaged in various bodily gestures if of great significance. Most noticeable is the interaction between the various forms, with each form symbolically representing a situation. And this is in addition to each figurative character being infused with aesthetics that are relationally symbolically. It is the interplay between them that forms a basis for the story. I consider much of my practice to be apolitical, with a very few subtle political comments. Thus the painting “Shopping in Times” articulates a certain personal position through multiple layers.

Again for me, it’s important to distinguish the different mediums, though the title itself suggests the whole body of work. With regard to the drawings, a much more controlled use of the line is present. The controlled movement of the line ultimately dictates a shape or form. However I found that the paintings functioned differently due to their scale. Yet still the black contour line’s presence similarly demarcates the different forms and shapes. The exhibition’s title "Om streken tillater, er former med” literally emphasizes a working process with defined results.

At the current moment, I’m working on several preliminary sketches for a mural commission. It’s been quite challenging in many aspects. To begin with, it requires me to operate within limitations when it comes to narrative form.

There are other equally challenging limitations during this process, especially given that I make use of the cut-and-paste method of working. Subsequently, I reminisce about printmaking again after all these years. In essence much of my practice has always been closely knitted, thus allowing for a gradual process of development.