Yinka Shonibare - Work

Work

Shonibare’s work explores issues of colonialism alongside those of race and class, through a range of media which include painting, sculpture, photography, installation art, and, more recently, film and performance. He examines, in particular, the construction of identity and tangled interrelationship between Africa and Europe and their respective economic and political histories. Mining Western art history and literature, he asks what constitutes our collective contemporary identity today. Having described himself as a ‘post-colonial’ hybrid, Shonibare questions the meaning of cultural and national definitions.

A key material in Shonibare's work since 1994 are the brightly coloured 'African' fabrics (Dutch wax-printed cotton) that he buys himself from Brixton market in London. "But actually, the fabrics are not really authentically African the way people think," says Shonibare. "They prove to have a crossbred cultural background quite of their own. And it’s the fallacy of that signification that I like. It’s the way I view culture — it’s an artificial construct." Today the main exporters of 'African' fabric from Europe are based in Manchester in the UK and Vlisco Véritable Hollandais from Helmond in the Netherlands. He has these fabrics made up into Victorian dresses, covering sculptures of alien figures or stretched onto canvases and thickly painted over.

Sometimes, famous paintings are re-created using headless dummies with the 'Africanised' clothing instead of their original costumes, for example Gainsborough's Mr and Mrs Andrews Without Their Heads (1998), Reverend on Ice (2005) (after The Rev Robert Walker Skating on Duddingston Loch by Raeburn) and The Swing (after Fragonard) (2001). An added layer to the Fragonard piece is that the fabric used is printed with the Chanel logo (though it is obviously not real Chanel fabric).

Shonibare also takes carefully posed photographs and videos recreating famous British paintings or stories from literature but with himself taking centre stage as an alternative, black British dandy, e.g., A Rake's Progress by Hogarth which he translates into Diary of A Victorian Dandy (1998) or Dorian Gray (2001) after Wilde's novel The Picture of Dorian Gray.

Considerably larger than a usual Ship in a bottle, yet much smaller than the real HMS Victory, in fact a 1:30 scale model, Yinka Shonibare's Nelson's Ship in a Bottle, was "the first commission on the Fourth Plinth to reflect specifically on the historical symbolism of Trafalgar Square, which commemorates the Battle of Trafalgar, and will link directly with Nelson’s column." The work was placed there on 24 May 2010 and remained until 30 January 2012. Being widely admired, in 2011 the Art Fund launched a campaign and successfully raised money for the purchase and relocation of the sculpture to the National Maritime Museum in Greenwich where it now found its new permanent home.

Other works include printed ceramics, and cloth covered shoes, upholstery, walls and bowls.