It became his defacto material of choice, a signature element distinct in all his artworks. Your email address will not be published. Yinka Shonibare MBE is a British-Nigerian contemporary artist, born on February 10, 1962, in London. His works also unpack ideas of identity, culture, and the post-colonial relationship between Europe and Africa. Early on in his artistic career, he was asked why he didn’t create authentic African art. With such a broad repertoire of skills, Shonibare is an artist difficult to categorize, in fact, his art is dedicated to challenging stereotypes and assumptions. These themes and ideas are always referred to as subtly, through a combination of references from Western culture and African elements. It made him question the notion of authenticity and prompted him to realize his artistic focus: “I realized what I’d really have to deal with was the construction of stereotypes, and that’s what my work would be about.”. El Anatsui, Untitled. Ai Weiwei: Sunflower Seeds. They had been adapted and refined to suit a new audience, where the bright colored patterned fabric had become an instant hit with Africa. With such a mixture of inspirations, his artwork is a much-needed celebration of the hybrid, of diversity and the multicultural. Batik was originally inspired by Indonesian design, mass-produced by the Dutch and eventually sold to the colonies in West Africa. With such a broad repertoire of skills, Shonibare is an artist difficult to categorize, in fact, his art is dedicated to challenging stereotypes and assumptions. He grew up in between continents and cultures, traveling between Lagos and London throughout his childhood. He eventually decided to settle in London to study fine arts at Byam Shaw College of Art in London and later his MFA from Goldsmiths. The Scramble for Africa, 2003. The significance on the surface was related to a continental identity, but it also represented colonial commerce and politics. The Victorian mannequins that he used to express this hybrid were equally ironic and aesthetic. Yinka Shonibare MBE is a British-Nigerian contemporary artist, born on February 10, 1962, in London. We are using cookies to give you the best experience on our website. Ranging from film, photography, paintings, and large-scale installations. Shonibare first began adopting the fabric to create elaborate, historically accurate Victorian-style costumes for his mannequins. A building steeped in Singapore's history, an iconic London sculpture, Dutch wax-printed fabric (popularly known as African batik) and a traditional Javanese batik motif - these elements come together in a new work by renowned artist Yinka Shonibare CBE, Justice for All, now on display at The Arts House. By combining the quintessentially British style of dress with fabric that had essentially become the emblem of Africa, Shonibare was able to express multiple identities, stories, and influences.
is a British-Nigerian contemporary artist, born on February 10, 1962, in London. It was a curious comment, the kind of comment that sparked a moment for Shonibare. You can adjust your preferences or withdraw your consent to certain Cookies at any time. Cookies are also used by us and third parties such as advertisers, ad-tech providers and others (“Vendors”) to develop and serve ads more relevant to your interests. Commissioned by the Museum of African Art, Long Island City, New York. Ai Weiwei, Kui Hua Zi (Sunflower Seeds) Wangechi Mutu, Preying Mantra. Its interesting that to explore African identity, Shonibare’s material of choice was a copy cat Indonesian textile from Europe, but it matches the aim of his art: “My work addresses the idea of having this fusion or hybrid cultural identity and what that produces…People always want to categorize things: I’m much more interested in this idea of a hybrid.”.

Doris Salcedo, Shibboleth. Most notable for his dramatic sculptures that fuse European aesthetics with African textiles, Shonibare works with several mediums. He grew up in between continents and cultures, traveling between Lagos and London throughout his childhood. You can adjust all of your cookie settings by navigating the tabs on the left hand side. His signature material is the brightly coloured ‘African’ batik fabric he buys at Brixton market in London. Installation 14 figures, 14 chairs, table 132 x 488 x 280 cm The Pinnell Collection, Courtesy of the artist, Stephen Friedman Gallery (London), and James Cohan Gallery (New York).

Commissioned by Museum for African Art, New York, for the exhibition Look Both Ways. It was a curious comment, the kind of comment that sparked a moment for Shonibare. Email. Shonibare often highlights just such dualities and hybridities in his work, and much of it has a personal meaning for him: he is an African man who grew up in England; he speaks English and Yoruba; his father was a lawyer, his great-great grandfather, an African chief. All of this is communicated through his famous and consistent use of Dutch wax-printed fabric. The fact that the informal symbol of ‘authentic African-ness’ and African identity was not really African, to begin with, was an irony Shonibare was excited to explore. This website uses cookies so that we can provide you with the best user experience possible. When Shonibare was 17 he was diagnosed with transverse myelitis, which caused his spinal cord to inflame and left part of his body paralyzed. Zaha Hadid, MAXXI National Museum of XXI Century Arts, Rome. Some Cookies are necessary to make this site and our content available to you. To consent to the use of Cookies and proceed to the site, click Accept below.More information about our Cookie Policy, Ovary-Action? He has expanded his discipline to include stunning outdoor public artworks, where he explores the movement of wind in fabric. He eventually decided to settle in London to study fine arts at Byam Shaw College of Art in London and later his MFA from Goldsmiths. Collection of The Pinnell Collection, Dallas. “Scramble for Africa” (2003) Yinka Shonibare CBE (RA) See All Close. Julie Mehretu, Stadia II . It made him question the notion of authenticity and prompted him to realize his artistic focus: “I realized what I’d really have to deal with was the construction of stereotypes, and that’s what my work would be about.”.
Overall 52 × 192 1/10 × 110 1/5 inches . You can find out more about which cookies we are using in settings. Shonibare often features himself in his work, one way or another, whether that be through a self-portrait in a painting or a more lowkey presentation through an exploration of national identity. Other Cookies analyse and measure audience and traffic.

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