Yinka Shonibare MBE (RA)

Present

Wind Sculpture (SG) I, 2018
Wind Sculpture (SG) I, 2018

Wind Sculpture (SG) I permanently Installed at Davidson College, North Carolina

Yinka Shonibare's Wind Sculpture (SG) I made its New York debut from March 7th - October 14th 2018 at Doris C. Plaza, Central Park. Due to the generous support of Pat Rodgers – the sculpture is now permanently installed at Davidson College in front of the E. Craig Wall Jr. Academic Center. The Wall Center, which Rodgers Builders constructed, not only serves as premier real estate on campus for Shonibare's work, but connects strikingly to the ideas behind the piece and to Rodgers's motivation in bringing it to campus. The center's cross-pollination of physical and social sciences, and humanities underscores Davidson's transdisciplinary emphasis in reimagining the liberal arts experience.

Photograph by Christopher Record

 

Criminal Ornamentation

Yinka Shonibare MBE curates the Arts Council Collection

The Arts Council Collection touring exhibition, Criminal Ornamentation opens at Attenborough Arts Centre, Leicester, 21 September-16 December 2018, then tours throughout the UK.

Yinka Shonibare MBE curates a new Arts Council Collection touring exhibition opening at Attenborough Arts Centre, Leicester, this September. Criminal Ornamentation features a number of celebrated artists including Timorous Beasties, Susan Derges, Laura Ford, Ed Lipski, Alexander McQueen, Milena Dragicevic, Lis Rhodes, Bridget Riley, Yinka Shonibare MBE, Caragh Thuring and Bedwyr Williams. Reflective of Yinka’s own practice, this exhibition explores the cultural and social dimensions of the use of pattern in modern and contemporary art. The title of the show is taken from Adolf Loos' 1908 influential essay 'Ornament and Crime '. In this essay, Loos’ examines the notions of good and bad taste and condemns the use of decoration and craft as an indication of the lowest level of cultural development, to the extent of stating ‘the modern man who tattoos himself is a criminal.’ Yinka Shonibare MBE challenges this notion by saying ‘Adolf Loos was clearly a man of his time in his snobbish revolutionary zeal to abandon ornamentation as he saw it as the pre-occupation of the working classes and degenerates’. 

Included in the exhibition are a range of works that Shonibare has chosen to challenge the notion of the ornament as crime. Shonibare looks to embrace colour, ornament and pattern as a means for social and political expression. Acclaimed artist Bridget Riley, for example, uses geometric patterns and repetition within Ecclesia (1985). Operating as more than bands of colour and stripes; Riley creates new shapes and spaces by changing the viewer’s point of perception. Similarly, Andy Holden’s Totem for Thingly Time, a sculptural piece formed of dripping plaster was made as an attempt to ‘reveal the time of its own construction’. Painter Sean Scully creates an interplay of expansion and restriction through the constant repetition of lines and structures within his work.  

Bedwyr Williams’ The Burn, a shell-encrusted metal BBQ, plays with the idea of ‘kitsch’ - highlighting issues surrounding class, taste and snobbery. These themes are also documented in Ron McCormick’s Man by China Stall; a photograph depicting a man surrounded by decorative pottery that was popular at the time but considered ‘kitsch’ by the elite. These works explore how society’s taste changes over time and examines the crossover between ornaments, craft and art. A number of works in the exhibition suggest the diverse potential of abstract patterns within art. As well as acting as decorative pieces, they explore postcolonialism and the strong connection between individuals and society. Bashir Makhoul’s Zigzag explores the theme of politics through the use of Islamic pattern; the painting questions ‘western capitalism and the Eastern Oil Empire’. Ardyne Point by Caragh Thuring draws inspiration from a local protest at a Scottish oil rig yard, using pattern to create a multitude of opportunities for different interpretations. Comedy is often present throughout the exhibition, Timorous Beasties’ ‘London Toile’ wallpaper, for example, portrays a dark sense of humour in its mismatch between form and content. From a distance the work resembles a traditional chintz pattern, however up close there are many shocking contemporary references including the depiction of a mugging, a seemingly homeless man on a park bench and a recognisable brutalist landmark, the Trellick Tower. Throughout the exhibition, it is possible to see evidence of Yinka Shonibare MBE aiming to break down the boundaries of gender association through the use of pattern and fabric. An embroidered evening dress and a metallic clutch bag by fashion designer Alexander McQueen are placed in Criminal Ornamentation alongside other works, blurring the boundaries between high and low art, cheap and luxurious, craft and art.

Tour details:

Attenborough Arts Centre, Leicester - 21 September-16 December 2018
Royal Albert Memorial Museum, Exeter - 19 January-16 March 2019
Longside Gallery, Arts Council Collection, Wakefield - 5 April-16 June 2019
Southampton Art Gallery - 28 June-28 September 2019

 

 

Smithsonian National Museum of African Art

Wind Sculpture VII

Wind Sculpture VII is the first sculpture installed permanently in front of the Smithsonian National Museum of African Art. This unique, gold-leaf version of Shonibare’s Wind Sculptures series evokes the sails of ships that have crossed the Atlantic and other oceans, connecting nations through the exchange of ideas, products, and people. In its form, it captures histories that can be inspiring or brutal, but always complex. It suggests that the opening of the seas led not only to the slave trade and colonization, but also to the dynamic contributions of Africans and African heritage worldwide. Using yellow, blue, rose, and gold, Shonibare celebrates the African men, women, and children who have shaped the United States, Great Britain, and other nations of today and for the future.

 

 

 

Nelsons Ship in  Bottle
Nelsons Ship in Bottle
© 2010 Yinka Shonibare MBE

Yinka Shonibare MBE Nelson's Ship in a Bottle

Nelson's HMS Victory

'Nelson's Ship in a Bottle' originally debuted on the fourth plinth in Trafalgar Square and is now permantley on display at The Nation Maritime Museum in Greenwich.The work is an incredibly detailed, scaled-down replica of HMS Victory, on which Nelson died during the Battle of Trafalgar on 21 October 1805. It has 80 cannon and 37 sails set as on the day of battle. The fabrics used were inspired by Indonesian batik, mass-produced by Dutch traders and sold in West Africa.

 

Wind Sculpture Howick Place
Wind Sculpture Howick Place
© 2014 Yinka Shonibare MBE

Yinka Shonibare MBE Wind Sculpture

Commission for Howick Place

Wind Sculpture, a site specific commision, is permanently displayed as part of Howick Place in Victoria, London. Measuring 6 metres by 3 metres, the work explores the notion of harnessing movement, through the idea of capturing and freezing a volume of wind in a moment in time.

 

To look at previous exhibitions see Press

 
©2018. All images are property of Yinka Shonibare MBE (RA).