Understanding art as a talisman, a device that possess transformative energy, that is a vehicle for change, Shonibare has collated a heterogeneous survey of works by African artists, its Diaspora and of other backgrounds but who do not necessarily conform to a western vision of art and are sensitive towards African or Black matters.
Author: Raquel Villar-Pérez
It is hard to talk about how my work is perceived. I think it’s received well but there have to be enough critics from the continent reviewing it for me to learn how it is perceived. When I started, people doing the kind of work I do in my country were negligible though some existed in other countries. All I can say as my mother often says, ‘the future is abundant’.
Raquel Villar-Pérez in conversation with Dar es Salaam based Rehema Chachage (1987)
The Squash is playful, humorous, inquiring, and subtly irreverent. Anthea Hamilton’s latest project is a witty response to what Tate Britain represents: the maxim referent of establishment art.
Raquel Villar-Pérez on the Tate project of Anthea Hamilton.
The Squash, by Anthea Hamilton. Image sourced from The Telegraph Newspaper
“My understanding of painting is the language of abstraction, and by abstraction I mean a world of ideas, a world of complex thoughts, a world of imagination. I believe that a descriptive approach is actually arming a subject. The more it is defined, the more it is reduced. Trying to stay open, works better for me when it comes to create strong links with reality, with facts, with my understanding of what it is to paint. …”
Raquel Villar-Pérez in conversation with Manuel Mathieu
Irma, 2017, Courtesy of the artist
The Sheltering Pixel is a very personal meditation of a non-African artist but who has matured his discourse and his way of looking, thanks to African artists in the Diaspora, whose knowledges and art works have raised issues such as the representation of the Other.