ïntraparadox is a coinage for the phenomena that occurs during an interview with an artist. Like any human being out there an artist has their own convictions and contradictions; for they are social animals. So intraparadox, as a dialogue produced as a result of an interview with the artist, is like an x-ray process that reveals the nature of the artist, their life and their art practice. It is important then that it, intraparadox, be written word for word based on the audio file gathered during the moment of interview with the artist, for I would like to present as closest an account as possible of the artist’s persona to the reader – a portrait of the artist. The reading must produce a reflection of the personality of the artist as it is, as it would be encountered when the reader, should the occasion present itself, meet the artist in person! The interview should be an intimate encounter of the artist in conversation about their work – this is the first task of writing the text. Secondly, during the interview as the ideals upheld by the artist emerge, teased out and made bare as the conversation develops around pertinent issues the artist is preoccupied with in their art production or practice; issues which might emerge during the dialogue, it is hoped, that an opportunity will be afforded the reader to delve deeper into the conception of the visual art object apropos to the artist undergoing the interview¶
There are two concerns that a work of art can be preoccupied with as far as our society is concerned. Let us accommodate the fact that a work of art, by the nature of its origin, by its insistence in our lives it is a social product. By the same token the artist can be looked upon as an outlet through which a particular society can be looked upon. This looking upon, this gazing that an artist undertakes when they make work that valuates a feature of a society, to be approximate (or ‘precise’ if you wish to use that word) their own society – their reportage or visual portrayal of society serves to surface the nature of that society as far as a particular feature of that society is concerned. At this meditative level an artwork can be looked upon as a study.
In the present writing I wish to term these concerns that an artwork can be preoccupied with as far as it being a study of a society as ‘levels of social critiques’ of which there is a Primary Level of social Critique and Secondary Level of Social Critique respectively. However, before we penetrate deeper into what I am proposing here, we ought to take a step back and look at an artwork at its gross state. If you allow me the liberty to sanction your consideration of the art object at that virgin moment before its intercourse with the public; at that point when the spectator looks at it for the first time or in the case of a literary text, when a reader experiences the work through a first reading, what we will encounter at this state is a social artefact that demands nothing but our time for its consumption. If it is aesthetically pleasing we are urged to acknowledge the abundance of decorum that the human hand and vision are capable of. If it is prophetic in its nature we will be warned through it of what doom looms arround. If it is stylistically developed and deploys new ways of methodology in its construction it will pave or, if you will, forecast other possibilities in art making. And if it pulls and deposit all these ‘Ifs’ in it, it is an explosive breakthrough – it undeniably changes how art will be made from that point onwards. But only if we the recipient of the artwork grants them time and consume them.
The new Santam insurance advertisement cleverly uses a famous actor to specify the insurance company’s offering. The viewers’ knowledge of the actor Ben Kingsley is of paramount importance for one to appreciate the content of the advertisement.
Thematically speaking the ad asks the viewer to double check whether the insurance policy that they have is what it promises to be. In retrospect the questions that are erected within the advertisement as a probing text inversely-wittily erect what Santam can offer to its client. It is self referential or if you will self reflexive.