通过真人大小的雕塑，艺术家Yinka Shonibare CBE思考了对殖民主义的把握及其对现代身份概念的持久影响。每一个没有脸的人都在动作中，用步枪射击一大片樱花，拿着沉重的网袋笨拙地向前走，或者平衡一堆高耸的蛋糕。引人注目的是，这些人物的顶部有地球仪和宇航员头盔，它们同时以旅行和探索的形式表示运动，同时掩盖了个人身份。
这位来自英国和尼日利亚的艺术家以在各种媒介中使用图案纺织品而闻名，他给自己的超现实雕塑穿上了蜡染织物，而蜡染有一种植根于殖民主义的历史。蜡染法最初在东南亚使用，后来被荷兰人采用，荷兰人将这种有图案的纺织品用于商业生产，然后卖给西非殖民地。自20世纪60年代以来，这种充满活力的结构已经成为非洲独立和身份的标志。
这位来自英国和尼日利亚的艺术家以在各种媒介中使用图案纺织品而闻名，他给自己的超现实雕塑穿上了蜡染织物，而蜡染有一种植根于殖民主义的历史。蜡染法最初在东南亚使用，后来被荷兰人采用，荷兰人将这种有图案的纺织品用于商业生产，然后卖给西非殖民地。自20世纪60年代以来，这种充满活力的结构已经成为非洲独立和身份的标志。
“Woman Shooting Cherry Blossoms(2019), unique fiberglass sculpture, Dutch wax printed cotton textile, bespoke hand-colored globe, steel, brass, zamak, wood, resin, and silk, 244 x 193 x 436 centimeters. All images © Yinka Shonibare CBE, by Stephen WhiteThrough life-sized sculptures, artist Yinka Shonibare CBE considers the grasp of colonialism and its lasting effects on modern conceptions of identity. Each faceless figure is in the midst of an action, presented shooting a mass of cherry blossoms from a rifle, lumbering forward with a hefty mesh sack, or balancing a towering stack of cakes. Evocatively posed, the figures are topped with globes and astronaut helmets, which simultaneously gestures toward movement in the form of travel and exploration while obscuring individual identities.Known for using patterned textiles across mediums, the British-Nigerian artist outfits his surreal sculptures with Batik fabrics, which have a history rooted in colonialism. Originally practiced in Southeast Asia, the wax-dyeing method was adopted by the Dutch, who commercially produced the patterned textiles and sold them to West African colonies. Since the 1960s, the vibrant fabric has come to signal African independence and identity.To dive deeper into Shonibare’s artworks that explore identity, colonialism, and globalization, head to Artsy and Instagram.“Woman Shooting Cherry Blossoms(2019), unique fiberglass sculpture, Dutch wax printed cotton textile, bespoke hand-colored globe, steel, brass, zamak, wood, resin, and silk, 244 x 193 x 436 centimeters“Refugee Astronaut (2015),sculptures, fiberglass, printed cotton, net, wood, metal and plastic objects, and steel baseplate, 208 x 93 x 90 centimeters“Girl Balancing Knowledge(2015), fiberglass mannequin, Dutch wax printed cotton textile, books, globe, and steel baseplate, 179 x 139 x 89 centimetersLeft: “Butterfly Kid (Boy)(2015), fiberglass mannequin, Dutch wax printed cotton textile, silk, metal, globe, leather, and steel baseplate, 127 x 75 x 88 centimeters. Right: “Planets in My Head, Music (French Horn)(2019),fiberglass mannequin, Dutch wax printed cotton textile, French horn, globe, and steel baseplate, 137 × 55 × 51 centimeters“Cake Man IV(2015), fiberglass mannequin, Dutch wax printed cotton textile, pocketwatch, plaster, polystyrene, globe, leather and steel baseplate, 315 x 140 x 92 centimeters“Planets in My Head (Trumpet Girl)(2018), fiberglass mannequin, Dutch wax printed cotton textile, trumpet, globe, and steel baseplate, 160 x 69 x 50 centimetersDo stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, apply for our annual grant, and get exclusive access to interviews, partner discounts, and event tickets.
