By Yohannes Mulat Mekonnen
Walking through the exhibition hall at Primo Marella Gallery, the exhibition attendant is greeted by Tegene Kunbi's extensive collection of paintings adorning the walls. At first glance, the paintings appear deceivingly similar, the looker’s attention is constantly drawn to the repeated grid patterns that are prominent. Consisting of diagonally stretching grids that recur within each painting and across the entire display, this meticulously structured repetition is what gives Tegene's work its intriguing quality. How does this repetition manage to evoke a sense of novelty in nearly every painting?
For Tegene repetition is not only a prominent feature of his paintings, but it is also a working method that structures his studio experience. Tegene views repetition as crucial for arriving at new forms; he sees it as akin to research or rehearsal. Every day, as he steps into the studio, he takes the risk of starting work without a defined destination. This risk is inherent in the artist's life, requiring a kind of repetition that encompasses rehearsal and research to be productive.
Additionally, the cyclical patterns observed in nature, like the changing seasons, highlight a key concept: while these cycles repeat, they're never identical due to evolving circumstances. This notion parallels the idea that one can never step into the same river twice. It underscores Tegene's intention to utilize familiar elements in his paintings to explore fresh expressions of beauty and significance, akin to the dynamic nature of the human face, constructed from a few shared components.
By amalgamating these concepts, we gain a deeper understanding of how repetition is integral to the emergence of novelty in Tegene's artistic practice. Contrary to common perception, Tegene's paintings demonstrate that repetition serves as a fertile ground for new rather than a barrier. Repetition, far from inhibiting innovation, can be the catalyst for it.
By Yohannes Mulat Mekonnen
April, 2023
In the wide, bright studio filled with several big-size canvases laid against the walls, while at least four others are in progress facing towards him, Tegene Kunbi is deeply engrossed in his work. He moves back and forth between the paintings, adding a stroke in one, and rubbing a tube of paint in the other. Tegene doesn't focus solely on one canvas; rather, he simultaneously works on all the surrounding pieces, his attention shifting seamlessly between them.
Tegene’s paintings are characterized by the permanence of a strong, repetitive yet dynamic geometric framework, delineating registers of intense, thickly applied colors. Tegene's artistic processes involve layering thick coats of oil paint, acrylic, pastel, and often textiles. With precision, he employs palette knives, brushes, and his hands to create highly textured surfaces, each stroke adding depth and tactile complexity to his evolving works.
The haptic dimension in Tegene’s paintings emerges through the meticulous layering of oil paint, resulting in a textured canvas that not only captivates the viewer visually but also stimulates a tactile experience. While modernist views, such as those of Greenberg, emphasize painting's flatness as its defining feature, in order to distinguish painting from all other forms of art. this entails censoring and excluding elements beyond the visual or two dimensions, aiming for the purity of the medium.
Tegene challenges this notion by prioritizing a sensorial, haptic encounter with his work, viewing painting as a physical archive of the artist's hand senses and process. He regards his paintings as indexical translations of his physical presence and embodiment. Through his deliberate material treatment and composition, Tegene aims to evoke a deep connection between the viewer and the physicality of the artwork.