经由过程真人巨细的雕塑，艺术家Yinka Shonibare CBE思虑了对殖平易近主义的掌控及其对现代身份概念的持久影响。每个没有脸的人都在动作中，用步枪射击一年夜片樱花，拿着繁重的网袋拙笨地向前走，或均衡一堆挺
经由过程真人巨细的雕塑，艺术家Yinka Shonibare CBE思虑了对殖平易近主义的掌控及其对现代身份概念的持久影响。每个没有脸的人都在动作中，用步枪射击一年夜片樱花，拿着繁重的网袋拙笨地向前走，或均衡一堆挺拔的蛋糕。惹人注视的是，这些人物的顶部有地球仪和宇航员头盔，它们同时以观光和摸索的情势暗示活动，同时袒护了小我身份。
这位来自英国和尼日利亚的艺术家以在各类前言中利用图案纺织品而著名，他给本身的超实际雕塑穿上了蜡染织物，而蜡染有一莳植根于殖平易近主义的汗青。蜡染法最初在东南亚利用，后来被荷兰人采取，荷兰人将这类有图案的纺织品用于贸易出产，然后卖给西非殖平易近地。自20世纪60年月以来，这类布满活力的布局已成为非洲自力和身份的标记。“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 global软装饰设计ization, head to Artsy and Instagram.“Woman Shooting Cherry Blossoms(2019), unique fiberglass sculpture, Dutch wax printed cotton text家装样板间ile, 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, an家居陈设d 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.