Life Is A Number

THE ARTWORK IS MADE OUT OF A SOFT HESSIAN MATERIAL, WHICH ABSORBS A VAST AMOUNT OF PAINT. THE PROCESS, AS PAINSTAKING AS IS, IS A LAYERED PROCESS OF VARIOUS ART MATERIALS THAT ARE APPLIED OVER EACH OTHER AS THEY SLOWLY FADE AWAY. THE APPLICATION PROCESS OF TEXTURES AND COLOURS IS REPRESENTED BY THE MALE AND FEMALE METAPHORICAL SYMBOLS WHICH ARE A DEPICTION OF COPULATION; THE PASSIONATE ENGAGEMENT OF THE TWO BRINGS FORTH FRUIT, AND SO IS THE ARTIST’S PROCESS. THE FRUIT BEING THE ENTIRELY LAYERED WORK. THE PROCESS IS LIKE SCRATCHING TO FIND WHAT HAS BEEN COVERED, WITH A TINGE OF UNCONFIDENT HESITATION THAT BRINGS ABOUT THE ARCHITECTURAL LINES OF BOTH FORMAL AND INFORMAL ERECTIONS OF VARIOUS BUILDINGS.NKOSINATHI FUSES THESE PROCESS AS A DIALOGUE ABOUT THE GENERALISATION OF THE NUMBERS. NUMBERS ARE AN IMPORTANT PART OF EVERY INDIVIDUAL’S LIFESPAN, BUT THE MASKING OF THEIR TRUTH HAS BECOME OUR FOLLY. THE POWER OF NUMBERS WEIGHS ON HOW THEY ARE PERCIEVED. WHILE MANY SEE THEIR IMPORTANCE, MANY DISREGARD THEM TO THEIR LOSS. THUS LIFE HAS BECOME A NUMBERS GAME THAT IS MOSTLY USED TO PEOPLE’S ADVANTAGES. WHILE ON THE LEFT SIDE OF THE PIECE ARE HEBRAIC NUMBERS THAT HOLD THE SAME POWER AS AFRICAN NUMEROLOGIC TERMS, WITH DEEP MEANINGS THAT THE GENERALISATION OF ROMAN TERMS, THERE IS AN EMOTIONAL EVIDENCE OF DIVERGENCE THAT COMBINES BOTH SIDES BY A RATHER VAGUE YET POWERFUL FORCE IN THE FORM OF OVERPOWERING, AS THE ROMAN NUMERAL BECOMES A COMMON GROUND OF NUMBERS. IT IS LIFE AN ARGUMENT BUT YET SO WELL CALCULATED TO INVITE THE ARTIST’S AUDIENCE TO DERIVE THEIR OWN CONCLUSIONS, WHETHER SPIRITUAL OR POLITICAL.