Henry Mzili Mujunga shows you, step-by-step, how to do Woodcut Printmaking using a Dark-to-Light Technique. Woodcut prints are usually strong, simple designs in monochrome or in just a few colors. Because of this, woodcuts have the advantage of being easy to reproduce, which made them a popular form of illustration before modern printing methods. Click here to learn how to print dark-to-light.
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Author: start
“If I were a wealthy artist, I would buy all the second hand vehicles stocked away in bonded warehouses around Kampala and turn them into a massive mobile art installation. Do not ask me for details of the project for that would most likely lead to plagiarism.” Henry Mzili Mujunga speaks out.
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Qwela is an Afro fusion outfit that has taken the music scene by storm with their upbeat. The leader Joseph Kahirimbanyi commands a strong contingent of talented individuals who have the potential to change the arts scene as we know it. Samuel Tebandeke Lutaaya talks to the musician.
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The START-team is happy to say we have a new collection of articles ready for the readers in the beginning of February. Sign up as subscribers to get the next issue delivered to your email.
Read More >>We believe that Ugandan art is already interesting and that the real issue is one of making the art more accessible to both the national and international markets. The original concept for setting up Signature Art was to create a non-for
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Art needs patronage. This could be provided by people of modest income who buy art on a regular basis to decorate their spaces and to use as gifts. These abound on the Ugandan art scene. But how useful are these art buyers to an industry that demands major capital injection for its growth?
In this article, Henry Mzili Mujunga questions the role of the corporate sponsors of Arts in Uganda.
A cow. A boda boda. A woman carrying her child in a sling. A man pushing a wooden wheelbarrow. George Kyeyune sees extraordinary stories in ordinary events.
”If I can record these moments in time as permanent images. To engage my audience. To show you our history. To provoke you and challenge you about who you are. Then I have accomplished my mission as an artist”.
Ronex Ahimbisibwe shows you, step-by-step, how to first make a mould using fiberglass and resin, then cast a fiberglass piece of art from that mould. With these instructional videos, Start lets you get familiar with creative techniques.
Read More >>The recent Totems of Uganda painting project by Taga Nuwagaba was nothing short of a new testament of creative thinking and artistry put together. During the opening at the Uganda Museum, most patrons agreed that Taga had raised the bar of visual arts presentation: The more than 1,500 guests, the fanfare, and much more, was a far cry from what had come to typify art Ugandan exhibitions in a very long time.
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“Artists must become more visible and more aggressive in their social dealings. Their messages should become more provocative and defiant. The writers should take time to write about their own work and make sure it is published regularly.” Eria ‘Sane’ Nsubuga speaks out about the steady decline in representation of artist and message in Ugandan media.
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Proper organizational structures and control mechanisms to ensure clear accountability for resources received. These two aspects are needed if financial institutions shall provide for co-financing of the creative industries in East Africa.
Read More >>Start Journal will launch its fifth issue online. With the move to the Internet, Start aims to be an entry point for exploring East African Arts. But, of course, we can never beat the live experience at the galleries and
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Henry Mzili Mujunga chats with the curator of the Dutch Masters Today exhibition at the Uganda Museum and ponders how to start an “art epidemic”. The Dutch masters are here. Who’s excited? Is it Rembrandt or Van Gogh? Are Corneille Van
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Back in the day, many brave terrorists from south of the great lake tried to cross this devil’s corridor in pursuit of Evil-Fat- Daddy, but instead lost all their memory and all their programs in its red waters. Evil-Fat-Daddy escaped
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Henry Mzili Mujunga talks about Rolands (Birutsya) Tibirusya, a “live” artist whose ingenuity has brought philanthropic art to a refreshing new level in Uganda. “Instead of complaining about it, he has frankly embraced the wave of celebrity that has engulfed
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A Q&A with Pamela Kertland Wright, collector, writer and owner of Emin Pasha hotel as well as several other safari lodges in Uganda. “I think there is incredible talent here in Uganda. But sometimes it needs to be taken out
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George Kyeyune reflects on how the medium affects the message in contemporary Ugandan art. “Nabulime makes casts of male and female genitals in transparent soap into which she embeds dark seeds to look like infections. We all know that soap
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The last quarter of the year was an exciting one for the Ugandan art world. It saw the arrival of the Dutch Masters Today exhibition at the Uganda Museum, which was unique not just because it enabled three prominent Ugandan artists—our own Daudi Karungi and Henry Mzili Mujunga among them—to exhibit alongside Dutch masters, but because our national museum actually hosted a modern art exhibition. Mzili talks to its curator, Ugandan expatriate David Oduki, and gets his ideas on one of our central preoccupations—how to get Africans to buy African art. In the performing arts arena, Tebandeke Samuel Lutaaya reflects on the history and development of modern dance in Uganda. We go beyond the purview of fine art to look at the aesthetics of branding with Michiel van Oosterhout’s piece comparing the marketing tactics of Uganda’s ever-growing stable of telecom companies. Finally, Dutch photographer Andrea Stultiens weighs in from the Netherlands in Notes from Abroad, we provide a primer for pricing artwork—and more.
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In this issue, we offer several contrasting perspectives on this controversial show of lecturers’ work. Elsewhere, correspondent Henry Mzili Mujunga returns with a reflection on the contentious issue of nudity in the arts and local urban culture. Mzili also profiles successful Ugandan photographer Eric Rwakoma, one of those rare and envied members of our artist community who manages to make his living doing what he does best. On the international scene, Leah Sandals provides us with a primer on how to break into the exciting and lucrative Canadian art scene. Read on for more features on the latest trends and techniques in the Ugandan art world.
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In the second issue, we explore the vital—and sometimes uneasy relationship between the arts and the commercial world. Artist and writer Henry Mzili Mujunga returns as our chief correspondent, exploring the recent rash of “biennales” and other art festivals in Africa and around the globe that have, in a desperate search for approval from the arts establishment, looked suspiciously similar. Mzili also profiles Segah, the rising Ugandan sculptor with a refreshing work ethic and takes us behind the scenes for the making of The Stride, the sculpture commissioned for last year’s CHOGM extravaganza. Anne- Liese Prem looks at the trend on the international art scene of works fetching staggering sums and the struggle to bring funding to our local arts scene. And finally, Catherine Meyer writes about how the arts in Uganda are giving something back to communities.
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