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Exploring the conscience of a rebel artist

by Kelvin Chiringa

The mystery of common sense and the ability to dare find expression in the queer, the subversive and disruptive form of art is one grey area mainstream society finds no common ground of convergence, yet for Julia Hango, that seems to be fine.

In her latest exhibition, “Manifestations of the self”, the artist goes beyond the limits right into the wilderness of the mind to find the self before transforming her soul into the substance of the creative.

Hango re-ignites debate on the role of the artist in mainstream society and dashes off the window the conventional perception of what constitutes art and purpose thereof.

Hango is art, and she has boldly gone an extra mile to make that statement clear by taking on the moniker, “Juliart”, that the essence of humanity can be a subject of awe.

She unleashes new patterns of aesthetics by shunning to recreate, but to rather, suggestively, deliberately exit the self and let her body be the wafting singular granule of art.

From within the chasm of her imagination, she reaches for nothing but the self, brings her soul up and thrusting herself into frames transfixed within the gallery of the Franco Namibia Cultural Centre, she is able to retell the stories of passion and ecstasy, self pride and rebellion.

That which shocks the world is the element of beauty worth of praise, that which is considered not worthy of public exposition is dangled right in the face of society.

Her mind is a wilderness of images that find strength in the body of the artist, yet she disputes that there is anything called the mind.

“Upon investigation into the nature of the mind one discovers that there is in actuality no independent entity that can be identified as the mind. Mind is only the word that denotes the ever changing flow of thoughts moving through one’s awareness,” she expresses.

And she is right. 

Her presentations, as defined by critics that have studied and observed her works are subjects of the “Ever-changing intuitive mind in creation with her art.”

Her works are the uncomfortable realities of who we are, the ghosts we meet in the darkness of our closed doors and skeletons we find no pleasure in letting into the public domain of society. She revisits these ghosts, these skeletons and lays them bare and she becomes part of them and still being able to disassociate from them.

She perceives art as the bullets that strike down at the established unwritten laws of normalcy and holds art by the collar to re-express and redefine, disrupt and change.

Very liberal she is as much as she is an artistic iconoclast, able to re-engage society on whether nudity in art is a virtue or vice. 

“Educational issues aside, nude figures also offer important expressive tools to artists. They can show human beings in ways that are uniquely valuable. For one thing, expressions of nudes are the extreme opposite of expressions of figures wearing trench coats, hats, and dark sunglasses.”

“They also allow the artist to show people outside of a historical context if he wishes to do so. Put any kind of clothing on a person in a painting or a sculpture and you tie them down to a time when that kind of clothing was common or popular and apart from times when it wasn't,” argues Bryan Yoder.

Hango shocks and re-educates, she rebels and dares.