of time zones. In a way, it was a literal refusal of time. During Kentridge’s life-time, due to the differences in regime and political chaos, South Africa’s relationship with the west has been laboured.

Though there are moments of narrative and structure throughout the piece, they are somewhat fragmented. The artist has made an effort to emphasise ambiguity so that the individual viewer may experience the piece differently based on their own personal context. This can be linked back to Kentridge’s Interest in the theory of relativity in which Einstein states “Only experience can decide as to it’s correctness or incorrectness”(Einstein, 1920). William Kentridge has made physical what Einstein theorised, albeit in a somewhat abstract way. Even the chairs, strangely placed around the room, seem randomly positioned, especially considering they are competing for space with a car sized moving wooden sculpture, but upon further inspection are bolted purposefully to the floor. As a result, each viewer inhabits an individual space, an individual line of sight and therefor an individual experience.

This element of abstraction, is in my opinion what makes this piece extremely effective as a piece of art. “To experience a work of art is to re-experience it, to rouse the essential and the living character that rests within its form as ones own personal life. The work of art is born anew in us” (Itten, 1921, p. 304). To expand on this quote, the power of art lies in it’s ability to connect with the viewer. This piece has been orchestrated to spark countless unique connections and experiences. Kentridge provides a huge amount of visual and intellectual stimulation in ‘The Refusal of Time’, but importantly leaves enough ambiguity and breathing space for the viewer to make connections that are individual to their own imagination, and I believe, therein lies the power of his artwork.