Samson Mnisi

“Something unknown is doing, we don’t know what.” – Sir Author Eddington

I am reminded of the above explanation of how the universe works by the renowned British Physicist when taking in the paintings of Samson Nisi. The source and inspiration behind the abstracted world’s Nisi conjures into reality are as much of a conundrum to me as any metaphysical theory. As a former Mkonto we sizwe veteran, Nisi has admittedly seen enough of the world’s many shades to steer his approach to art making towards the subconscious. This is to say that Nisi’s practice does not centre around an overly interlectualised grappling with form, composition or line, but is instead the result of many years of engagement with the elements of art, that he finds himself inhabiting a space of meditative solace when it comes to his practice. Samson Nisi substantiates this by saying “ It’s not art for art’s sake, but it’s also not for any sake either. For a long time I have been removing brain out of my work. For a long time I thought about stuff, but I’m trying not to think. I’m trying to remove thought from my work.” There’s a sense that it is only in these moments of creativity that he is able to syphon off from the world and truly connect with himself.

Every dot, line, brushstroke and pattern created becomes signifiers of Nisi’s transfixed connection with the process of creation. This approach is undoubtably easier to maintain while creating abstract works, but it is one he adopts in his own figurative life study drawings; as he breaks down a subject to its most fundamental art elements. A figure drawing becomes synthesized to a collection of lines and tonally varied sections, until the figure itself no longer exists but only the form remains. This does not require him to think about what it is he is creating, but it does require him to be present throughout the process of this creation, and honestly see what it is he is engaging with. Its not something he takes for granted, assuming that because he has seen a million seated figures, in his fifty-something years of life that he does not need to engage with what sits before him. The humility of not taking anything for granted and being open to the idea that whatever you thought you knew might not be so, becomes paramount. Questions such as “how does the world operate? How do I operate? How does my mind operate?” All nullify our supposed grasping of life and return us to the inquisitive mind of a toddler, eagerly waiting to discover life and understand it in its simplest form.    

Perhaps herein lies the true nature of Samson Nisi’s work? Maybe this iconic artist’s work can be best understood as a series of attempts of discovering and presenting of the world in its simplest form? Could the secret to untapping this artist’s creativity be in understanding that something unknown is doing, we don’t know what?