The Girl with the Pistol

The Girl with the Pistol

The tall and slender rectangular forms are framed with a multitude of colourful steel nails that pierce the edges of the canvas. Two major commissions, the first works in a new series for the UK, premiered in the Park’s Arcadian landscape. An interesting dialogue is created between ‘Wind Sculpture’ and the works in the exhibition, continuing Shonibare’s focus on themes of colonialism, trade, race and his signature use of batik Dutch wax fabric designs, better known as ‘African Textiles’. Ladies’ dresses reflect contemporary fashion, less influenced by European styles. As the years passed, patterns and color palettes were adapted to West and Central African tastes until, by the 1930s, Vlisco’s fabrics designed for the elite from that part of Africa had come to dominate the region’s import market. This duality is typical of Shonibare’s work. Shonibare questions the meaning of cultural and national definitions. Through the use of industrially produced textiles, nails and paint, Shonibare explores the stigma associated with the emblematic form of a totem as a means to investigate cultural identities and histories and combines it with his usual ironic expression. 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 … In ‘Ms Utopia’ (2013) Shonibare presents a tall female figure clothed in the artist’s signature Dutch wax batik fabric, with a celestial globe in place of a head. (SatNav WF4 4JX) He explores both historical and contemporary cycles of revolution, seeking to demonstrate the destructive patterns of human behaviour that repeat themselves through time. Yinka Shonibare, British artist of Nigerian heritage, known for his examination of such ideas as authenticity, identity, colonialism, and power relations in often-ironic drawings, paintings, sculptures, photographs, films, and installations. Change ), You are commenting using your Google account. Shonibare questions the meaning of cultural and national definitions. Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. United Kingdom Interested in multiculturalism, Shonibare combines different references in this playful sculpture. Coined for the 1516 book of the same name, the term utopia describes a fictional island proposed by Sir Thomas More as an ideal society. 1995 Not on view These Western–style nineteenth–century costumes, worn by mannequins as if part of a historical display, are made from so-called African fabrics. Yorkshire Sculpture Park A film, Addio del Passato (2012) played in the sublime surroundings of YSP’s 18th century Chapel (2 March–30 June 2013). These followed the success of Shonibare’s commissions for the Royal Opera House, London (2012) and the Fourth Plinth in Trafalgar Square (2010). Women often wore large dresses that were displayed for the photos. FABRIC–ATION examined how Shonibare brings together two seemingly irreconcilable tropes in works such as Little Rich Girls (2010), where batik fabrics are fashioned into Victorian high-society costumes from the height of the British Empire. Necessary cookies are absolutely essential for the website to function properly. Indonesian inspired batik fabrics, mass-produced by the Dutch, exported to and made popular in West Africa; so-called "african fabrics" are integral to Yinka Shonibare's art. The patterns of the women’s dresses interact with the background. Shonibare’s work frequently explores the theme of revolution, drawing a stark contrast between the utopian ideals inherent in anarchic action and the darker realities of its consequences. Cake Man / Yinka Shonibare / 2013 The fabric is brought to life in Little Rich Girls, 2010, where batik fabrics are beautifully transformed into a series of upper-class Victorian dresses and suspended from the wall like museum artefacts. View on Google Maps. United Kingdom Shonibare’s romanticised version of the story is reimagined in a theatrical form.

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