Everybody, I have found my new art crush. Yinka Shonibare, MBE is a British-Nigerian artist with an impressive list of awards, publications, and gallery exhibitions on his resume. And I am all kinds of in love with his work, from his art installations to his gallery pieces. I do love an artist with flexibility who is just as likely to be found on the stage as in a gallery. And I like an artist who forces me to confront things about myself, to boot.
This piece is ‘Leisure Lady (with ocelots)’ and it pretty much sums up everything awesome about his work. For this sculpture series, he explores batik and other traditional textiles in ornate, beautiful gowns (seriously, if he did garment construction, I would totally be ordering from him) with clear Victorian influences. The headlessness of the mannequin provokes all kinds of thoughts in my head about identity; you could also read it as dehumanising, but I think it’s more complicated than that.
‘How to Blow Up Two Heads at Once (ladies).’ It’s disturbing. It’s challenging. It’s beautiful.
This quote about his work sums it up better than I can:
Known for using batik in costumed dioramas that explore race and colonialism, Yinka Shonibare MBE also employs painting, sculpture, photography, and film in work that disrupts and challenges our notions of cultural identity. Taking on the honorific MBE as part of his name in everyday use, Shonibare plays with the ambiguities and contradictions of his attitude toward the Establishment and its legacies of colonialism and class. In multimedia projects that reveal his passion for art history, literature, and philosophy, Shonibare provides a critical tour of Western civilization and its achievements and failures. At the same time, his sensitive use of his own foibles (vanity, for one) and challenges (physical disability) provide an autobiographical perspective through which to navigate the contradictory emotions and paradoxes of his examination of individual and political power. (source)