Hazoumè states he isn’t just satirising African politicians. His discourse is focused on international figures who embody global corruption. These masks are a nod at the scandal surrounding the Panama and Pandora Papers, wherein offshore wealth was also “masked” by the elites.
In a space where racism and inequality are still challenges, Sekgala captured the disillusionment of “Mandela’s children” who continue living through poverty and deprivation. Yet despite the challenges of their material world and living situation, we see that “home” goes beyond physical limitations and wealth. The empathic and compassionate images the artist leaves behind in this exhibition are the images he wanted the world to remember as South Africa.
Botchway’s exhibition seeked to unify the mercurial nature of human traditions and politics around what it means to be black. Be it beauty, fashion, identity or skin tone Botchway’s message isn’t just static, it isn’t just a state of being, it is a state of becoming something more.
Race, gender and art have been complex topics to pursue but artists like Walker find this a vital opportunity to express their message, celebrate black masculinity and protest the lack of “accurate representation of black males in media…”
Much like the work of authors, these are character studies of timeless protagonists who never existed but can have as much impact on audiences as literary heroes. Interestingly Yaidom-Boakye is also a writer, so she understands how to structure a story. Her pictures are a narrative without words.