ommunication in art is fruitful only when it is reciprocated by the viewer. If the nucleus of an artwork is incomprehensible to the general public, it is most likely to be labelled as ‘abstract.’ This liberates it from the visual references to the world. In other cases, the juxtaposition of representative objects in a picture frame is also contingent upon its comprehension. This practice was initiated by Dadaists in the early 20th Century when they would place a variety of cut-outs derived from newspapers and magazines on a flat surface based on randomisation and chance operations. The final outcome is often perceived as devoid of meaning, not only owing to the title of the art movement but also to the context in which it is set as Dadaists hoped against hope to make sense of a society in times of war.

More often than not, the content and context of a work of art go hand in hand with its interpretation. The viewers must be informed about the external and internal factors influencing an artist’s life in order to thoroughly decipher the meaning of a particular artwork as art does not disseminate knowledge the way language does. The esoterics pertaining to art might only be exclusive to those who are trained in the field. One should not be required to be an educated artist to enjoy their interpretation of a piece. The elucidation of art heavily relies upon the interpreter’s interests and conditioning.

Grant Campbell, the late rock art specialist, describes the handprints belonging to the early civilisations as ‘signatures’ of specific individuals or tribes. However, in contemporaneity, we find similar visuals in our children’s notebooks drawn on random pages of a lesson. Both mark-makings have been separated by their context. The latter might be justified as a leisure or rebellious activity and the former as a marker for territory. Is it the universal representation of a palm that makes it easier to comprehend its meaning or the setting in which it has been found?

The intention of the artist is a constant, whereas its perception may vary as all viewers might not interpret an artwork in unanimity. American philosopher Cynthia Freeland states that an effective interpretation of an artwork should be based on logical deduction and factual evidence. It should offer a multifaceted and intricate perspective that can alter one’s perception from detesting the artwork to appreciating and comprehending it better.

Moreover, the interpretation is conditional upon the expression of an artwork in which the artist has either consciously or unconsciously put forth his/ her emotions and ideas to be perceived by the general audience. If the sentimental values of the viewer are in alignment with the artist’s then it is considered an achievement for the maker. If not, then the viewers must be informed about the backdrop in which the art piece has been set.

Consider Keiv-born artist Kazimir Malevich’s unprecedented work Black Square. There is apparently no right or wrong way to see or interpret this piece as no one before the artist has attempted a thing of this sort. Many critics have undertaken the task of decrypting this work. One cannot say if they have failed or succeeded. Some interpretations of the work related it to the political context from which the artist hailed. Others referred to his previous creative practice. Somehow all agreed that there might not be a ‘right’ way to look at it.

The cognitive theory, which is mainly based on the philosophy of ‘pragmatism,’ suggests that art may be based on communicating knowledge in a way similar to how science operates. There is a structure to this communication that resembles language and employs universally recognised symbols to convey its meaning to viewers.

In Kaaba Picture as a Misprint by Hamra Abbas, a series of prints explores the possibilities of interpretation related to the reorientation of objects. The work deconstructs the notable image of the Kaaba into its elementary yet discernible form with two rectangles, one placed atop the other printed in the darkest black ink. These pictures gradually evolve by breaking down the black pigment into its primary printing mixtures of cyan, magenta and yellow, giving the illusion of a misprint. Owing to the ubiquity of the symbol deployed in the series, the images convey various ways in which religion may be comprehended and experienced or the same series of events can be processed by each individual in a plethora of ways.

Comprehensively, one cannot ascertain an analysis of art simply based on their qualification or expertise in the field as each viewer puts forth their interpretation of art based on their political, social and religious beliefs and experiences. All interpretations must be acceptable to the artist regardless of whether or not they align with his/ her original intent.

Furthermore, no one genre of art should be inherently more valuable or appreciated based on its objective and subjective representation. The emotional and individual resonation of an artwork should be examined. For a wholesome experience of art, these are influenced by the historical, cultural and social factors.

The writer is an interdisciplinary artist and educator based in Lahore