Multi-layered Identities and Movement: A Conversation with Yinka Shonibare MBE
Wind Sculpture (SG) I stands 23 feet tall at the southeast entrance to New York’s Central Park. Created from fibreglass and painted in rich gold, turquoise and terracotta patterns reminiscent of Dutch wax batik prints, Yinka Shonibare MBE’s monumental sculpture captures the gentle undulating motion of wind. Conjuring up images of fluttering sails gliding over endless seas, the deep folds and multiple twists capture the complexity of movement, migration and multilayered identities.
British-Nigerian Shonibare was born in London and moved to Lagos as a child where his father practised law. Reminiscing about this period of his life in a recent interview, he attributes the birth of his interest in art to Lagos’s traffic jams. Shonibare would stay in his art class while waiting for his lift home and there he discovered art as a channel of his teenage rebellion against his traditional ‘Victorian father’.
Shonibare has worked with a range of media including painting, photography, sculpture, video, installation, film and performance. Despite his movement through media and across time, the vibrant Dutch wax prints remain a signature of his work. The colourfully patterned cloth ever present on the streets of Africa, from Abuja to Harare to Kinshasa, is Shonibare’s entry point into the complexities of cultural authenticity and identity in a globalised world.
Often mistaken as ‘indigenous’, the fabrics borrowed their patterns from Indonesian textiles, were mass-produced by the Dutch and sold to their West African colonies. Today they are manufactured in the Netherlands and China, worn throughout large parts of Africa and form British designer Stella McCartney’s problematic Spring 2018 collection. Shonibare’s work suggests the folly of simplistic approaches to identity when cultures continually shift and Europe and Africa remain intertwined through the relationship that was cemented by colonialism. He counters erasure and appropriation by acknowledging and honouring the visual cultures, places and ages he borrows from.
This tension was encapsulated in Nelson’s Ship In A Bottle, a public sculpture commissioned for Trafalgar Square in 2010. Glancing back to the beginning of the 19th Century, Britain was largely excluded from European markets and hoped to expand its trade and influence. The success of Lord Nelson’s HMS Victory, which had recruited foreigners to make up 30% of its crew, increased Britain’s control of the seas, contact with distant countries and arrival of new communities to our shores.
While the current narratives around migration are far from positive and there is a persistent refusal to acknowledge the voluntary, and non-voluntary, role foreign nations have played in Britain’s prosperity, the wind sculptures joyfully engage with the inevitability of human movement. Evoking the flexibility of a sail organically moulding itself to the wind, Shonibare’s work interrorages our reluctance to adapt to the movement of humans triggered by our collective actions, whether they be conflict, human trafficking, man-made disasters or climate change.
Public sculpture has always been key in commemorating history and heritage. Shonibare makes playful references to controversial past events, weaving a poetic discourse that can be read on many levels, from confrontational to whimsical to ironic. Redressing the imbalance of narratives around our collective past and present become an activity for all to take part in.
Written by Chiedza Mhondoro, Office Manager at Counterpoints Arts
Wind Sculpture (SG) I is on view at the Doris C. Freedman Plaza, Central Park, New York until 14th October 2018. Wind Sculpture, from the first series of work, is permanently installed at Howick Place, London.
Wind Sculpture (SG) I, 2018. Courtesy the artist. Photographer: Jason Wyche
Victor Virgile at Stella McCartney via Getty Images
Nelson’s Ship in a Bottle, 2010. Courtesy the artist, Stephen Friedman Gallery (London) and James Cohan Gallery (New York). Photography courtesy Stephen White.
End of Empire, 2016. Courtesy artist and Stephen Friedman Gallery, London. Photography courtesy Stephen White