New York-based artist Uman is no stranger to crossing borders: born in Somalia, she lived in Kenya and Denmark before moving to the United States. Her art, too, straddles multiple boundaries. Drawing on knowledge of everything from East African fabrics to Arabic calligraphy, Uman’s kaleidoscopic paintings often combine abstract shapes with anthropomorphic elements, like eyes, mouths, and gestures. Moreover, she seeks to cultivate a practice of “constant evolution” untethered from any prescriptive agenda, so that her art navigates a liminal space between tradition and autobiography, community and itinerancy, and activism and contemplation.
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mediumWhich statement about Uman’s art is most strongly supported by the text?
A
Its rejection of established aesthetic criteria can be traced to Uman’s ambivalence toward cultural traditions.
B
Its adherence to certain dichotomies sets it apart from the work of most abstract artists based in the United States.
C
Its openness to experimentation is evident in its diverse influences and refusal to adhere to a single conceptual frame.
D
Its spontaneity makes it challenging for critics to recognize the conventions of genre that Uman chooses to observe.