- BLACK CROWNS - 2023
Welcome to my research page, a platform dedicated to exploring and honouring Black Queer Joy and the deep roots of Black history. Here begins a journey of self-discovery and intellectual growth, immersing myself in my heritage.
My name is NÉNÉ, an artist moving from Afrofuturism and Afropresent. My artistic journey is characterised by an ongoing quest for self-discovery and a deep exploration of social issues linked to the African diaspora.
My work translates into colourful, multidisciplinary creations in which I bring out my curiosity and critical eye. As an artist, I am always looking to connect, both with my bi-cultural identity and with my audience.
The work I create is grand and multifaceted, touching on themes that resonate with my own experiences and observations. I like to experiment with materials and different forms that are expressed grandly. With my making process, I try to create dialogue and open new perspectives through my art.
In short, my work is an invitation to reflection, exploration and imagination, and I hope it may be a source of inspiration for others to journey with me.
The work I create is grand and multifaceted, touching on themes that resonate with my own experiences and observations. I like to experiment with materials and different forms that are expressed grandly. With my making process, I try to create dialogue and open new perspectives through my art.
In short, my work is an invitation to reflection, exploration and imagination, and I hope it may be a source of inspiration for others to journey with me.
Research (week 1); Exploring and brainstorming ideas that align with my research plan to help me achieve 'academic success'.....
TRASH IN LIGHTNESS - (Week 2) February 13th.
Feeling like 'TRASH IN LIGHTNESS'.
These collages provided me with a direction towards a design idea
February 14th - Today I visited the Stedelijk Museum in Schiedam and TENT (Rotterdam)
to conduct research for my project. I researched color spectrum and usage, perspectives, material usage, and drew inspiration from artist AirRich (Stedelijk Museum).
Research Method:
I brought a notepad and took the following notes (see photos below).
I used the book 'WICKED ART ASSIGNMENTS' to look at artworks differently, discuss art, and to become a part of the artwork myself. The assignment is called 'Who Is Your Soulmate?' I chose the piece below (photo of person with white stripes over the body).
I chose this piece because the lines in the painting are a recurring aspect in my work. I used the following five questions from the assignment to interrogate the work, and then use this data for my research/artwork.
Questions:
Which artwork gives more than it gives? This piece, in my opinion, offers a lot of depth. The Afrofuturism in this work alone is worthy of investigation. This piece reflects the future of Africa, the lines which may symbolize something, the perspectives and color usage. You are almost drawn into the work, into the person standing before you. It seems to want to tell a story.
Which artwork talks back? It seems to want to tell a story, to speak a language I cannot understand but somehow comprehend. The work wants to take me somewhere, something futuristic, something many do not yet know. Accessible to those who are willing to open themselves up to something that may be painful, something that provides a deep awakening but healing. A spiritual place where it is quiet but a strange buzzing sound is heard, feeling the vibrations through the body causing the blue light in the room to flicker on and off.
Which artwork would you take on your time machine with you? This work is already a time machine in itself, as described above. The work will travel with me through the years and continue to tell a story on different levels.
Which artwork misses its grandmother? This work also represents honoring ancestors for me. The work has a bit of an 'alien' vibe and that stands for me as a phenomenon that sometimes seems lost or not from here. Where do I belong then? Can I travel to and honor my ancestors?
'Which artwork would you whisper 'Everything will be okay' to? The work has a bit of an 'alien' vibe, and that stands for me as a phenomenon that sometimes seems lost or not from here. I would like to say to the work, whatever made you what you are, whatever you have been through, and whatever you will experience... Everything will be okay, you slay!
MORE COLLAGE AND RESEARCH - (week 3)
This week, I have created a new collage to generate fresh ideas for my graduation project. I aim to create a futuristic 'creature' that embodies various aspects of Africa. Through this process, I have developed a new design that I intend to work on in the upcoming weeks.
Additionally, I have conducted research on DOGON art from Mali and the Dogon tribe. This has become a source of inspiration for me because this community encompasses many elements related to death and life, which deeply resonates with me. The vibrant colors used in their ritual dances, for instance, to safely convey the souls of the departed, are absolutely captivating!
Afro futurism/ africobra/ black panther party. - Topics I researched for my research.
-notes this week; it interests me how the designers of the posters used the collages. Somewhere there also seem to be links to the movements dada and the MAO movement regarding the designs, which I find fascinating. I do want to state explicitly here that I don't know if the black panther party were inspired by this.
I have gradually become inspired by the Afro futurism art movement and its pioneer; Sun Ra. Recently, I watched his biography and film 'Space is the place' where the essence was on 'SPACE' and building a planet where there are only black people.
Sun Ra explains what he is experiencing and has experienced with other energies.
SUN RA: 'My whole body changed into something else. I could see through myself. And I went up... I wasn't in human form... I landed on a planet that I identified as Saturn... they teleported me and I was down on [a] stage with them. They wanted to talk with me. They had one little antenna on each ear. A little antenna over each eye. They talked to me. They told me to stop [attending college] because there was going to be great trouble in schools... the world was going into complete chaos... I would speak [through music], and the world would listen. That's what they told me.'[15]
Because of this, I have formulated some questions for my research on my design:
What philosophy does Afrofuturism have and does it align with what my philosophy is regarding Afrofuturism? My philosophy in the aesthetics of afrofuturism that everything is possible, things are to form, fluid, colourful environment and where there is equality.
Honouring our ancestors and taking them into the works we make and our daily lives.
It is the blackness that goes along with our queerness, how does it move outwards , how does it take its place in a world where there is freedom given to people who have been oppressed for a long time. what does black queerness look like in an afro futuristic world? what language is spoken? what do people look like in an afro futuristic world? how do people move around? what do I look like in a world where I am allowed to be myself?
what does my self-created world mean? what do the symbols I create mean? what is a recurring symbolism in my work? and my earlier works? what does that say about me and the world I live in?
Honouring our ancestors and taking them into the works we make and our daily lives.
It is the blackness that goes along with our queerness, how does it move outwards , how does it take its place in a world where there is freedom given to people who have been oppressed for a long time. what does black queerness look like in an afro futuristic world? what language is spoken? what do people look like in an afro futuristic world? how do people move around? what do I look like in a world where I am allowed to be myself?
what does my self-created world mean? what do the symbols I create mean? what is a recurring symbolism in my work? and my earlier works? what does that say about me and the world I live in?
What if black was the norm?
I still don't know' (week 4)
This week, I started mapping out my research method (see the image below) that I want to employ for the coming period.
I created an observation form this week that I can use for my research and production process. I made this to clarify my research and production process. On Wednesday, February 28th, I will go to the art hall to apply this form and to deepen my research process.
Furthermore, I received an assignment from Maarten Bel to incorporate elements from previous artworks or projects into the work I will be working on in the coming months. (see pictures below)
Kunsthal 28 February - AI WEI WEI
Today, I have observed the works of Ai Weiwei and Doron Langenberg as part of my research process.
The works of Ai Weiwei, particularly those crafted from marble and distorted from their original material, add a different dimension to his artworks alongside the original material. They carry a meaningful significance, often referring to events in his life or disasters such as those in China, for example, the events in Sichuan where a miner got trapped and left a message in his helmet for his family members.
These symbolic elements demonstrate how you can integrate personal experiences into your work. That's why I've been inspired by Ai Weiwei, not just because of his art, but also because of his activism for human rights and how he weaves this into his work. I find it intriguing how he incorporates capitalism, cultural aspects, and traumatic events into his work.
"I can’t breathe," a work by Ai Weiwei made of LEGO, appeals to me because of the various layers it brings. The phrase "I can’t breathe" has been used throughout history in the context of racism and violence. The use of LEGO makes me ponder. Why? Reconstructing a statement and assigning a new meaning to the material is intriguing, but at the same time, LEGO is also fragile and can be set aside, just like intense events in history that are briefly highlighted by the media and then forgotten again.
Finally! A design for my graduation project - 'AfroPresent'
Intro:
Afrofuturism and Afropresent are artistic movements that play a significant role in my research. My interest in these movements stems from a deep personal journey and role models such as artists who are part of Afrofuturism. Over the course of four years, I have studied my own experiences and those of artists from the BIPOC community, which has led to a strong motivation to explore diverse perspectives, freedom of movement, and identities within a system that often lacks space for diversity.
This research also stems from the 'International Arts' minor I pursued at HKU, where I had the opportunity to conduct a two-month study on the culture and dance culture in Zanzibar, Tanzania. During this research, we focused on the possibilities for dancers to perform internationally and then bring back the knowledge gained locally to dance collectives in Zanzibar. During this period in Zanzibar, I was exposed to the art, culture, and way of life on the island. I experienced how communities and collectives are strongly connected because Tanzania has a strong communal culture. Out of this minor, a collaboration emerged with the dance collective 'Mwangaza', of which I became an active part. The collective 'Mwangaza', meaning 'light', further fueled my interest in Afrofuturism and inspired me to explore in the coming months how various elements intertwined with artistic expression can develop beyond existing boundaries, guided by the philosophy of Afrofuturism.
Intership & inspiration:
During the upcoming internship period, integrating the philosophies of Afrofuturism/Afropresent into my teaching practice is paramount. My objective extends beyond merely teaching art and creativity; I aim to cultivate an environment where diversity, inclusion, and self-expression are central. Currently, I am working on translating Afrofuturism into my educational approach, with the ultimate goal of inspiring and empowering my students. An example of how I intend to achieve this is by collaborating with students to prepare a musical focusing on monsters and emotions. In this project, we will not only approach the classic aspects of a musical but also delve into the deeper meanings behind emotions and the portrayal of monsters. Alongside the students, I will be involved in designing and constructing sets and creating costumes that align with the theme of the musical.
Below is a selection of visual material that inspires me for my topic 'Afropresent'.
The intention is for Nova and I to transform three mannequins into an Afro-present sculpture, incorporating various symbols and references to Afrofuturism.
RESEARCH (WEEK 5)
Last week, I conducted an interview with artist Younes aka SplitlerAnvers.
For this interview, I prepared the following questions:
Would love to hear your insights on the following questions:
Would love to hear your insights on the following questions:
1.How do you interpret Afrofuturism? Do you use Afrofuturism within your artistry and personal identity? If so, what do these connections look like?
2.Which elements of Afrofuturism inspire you most and why?
3.In what ways do you think Afrofuturism contributes to changing classic ideas and images about black identity?
4.What philosophies or ideologies within Afrofuturism do you find inspiring and why? Can you tell something about your philosophies and ideologies that you use in your artistry?
5.How do you use your art to explore and reinforce the themes of your own work?
6.How does your work contribute to promoting inclusion and empowerment within the BIPOC community?
These questions also include a request: could you draw a picture or add a drawing that you think reflects, or reminds you of, the meaning of Afrofuturism? This would be a valuable addition to my research.
I have also been at the research station this week looking for inspiration on costumes from the African diaspora. This is how I ended up on the following books;'Haute Africa' 'Ethnomania' 'Ethnic dress'
From Haute Africa, I got inspiration from the following artists;
Hassan Hajjaj
Zanele Muholi
Hector Mediavilla
Hassan Hajjaj
Zanele Muholi
Hector Mediavilla
I chose the book "Haute Africa" because I want to tell a story in my visual work through textiles, interweaving symbolism and references to convey a message to the viewer. Jim Naughten inspired me with his photo series, which tell stories told in a similar way by the Herero Tribe (Namibia). Textiles and clothing have deeper meanings and can express identities and emotions. This phenomenon is well known in the African diaspora. I am interested in incorporating from current events into visual work, as for example in Ghana and anti-LGBTQ+. I wonder how to create an image that makes the black queer community recognisable in public to others who are also part of that community, as support for each other. I am thinking of hidden languages and codes, such as the costume in Suriname where enslaved people communicated with each other through headgear, allowing them to exchange messages hidden from the colonists.
Artist Jim Naughten (UK), sparked my interest through his research on the Herero tribe in Namibia and their costumes. During the colonisation of part of Namibia by Germany, Herero people were forced to wear clothing that matched that of Europeans, under the influence of Rhenish missionaries. In 1904, war broke out in which 80% of the Herero people were exterminated. At the time, clothing served as an expression of identity; killing a German meant adopting his uniform and spirit, allowing one to show oneself as a brave warrior. This tradition, especially among men, is still honoured during ceremonies, festivals and funerals as a tribute to ancestors. This inspires me to make clothes worn by my ancestors from Nigeria and my father who passed away but also to make a translation into textiles which represents my battle against the 'white cube' and express the system behind it.
Kunsthal KADE (Amersfoort)
On Sunday, March 10th, I visited Kunsthal Kade in Amersfoort and used my analysis form. I explored the artworks of Hans op de Beeck (BE), which consist of installations or videos. His works encompass various themes including death, celebration, and dreams. What intrigued me about his works was the use of a monotonous color; they provoke numerous questions while compelling you to engage with the artwork without distraction from other colors. His artworks are made from polyester and coating material, and they are strategically placed within the space, appearing remarkably lifelike.
Furthermore, I found it fascinating how the spaces housing his works were thematically organized, alongside artworks from the era of old masters. Hans also incorporated symbolism reminiscent of ancient Greek art. For example, the butterfly atop the skull symbolizes (if I remember correctly) immortality or relates to souls. What inspires me is his ability to draw from history and pay homage to the origins of these symbols, demonstrating a profound respect for their cultural significance.
I also found Jan Duyvetter's artwork interesting. His artworks refer to a time when people wore clothing to indicate mourning, so that others were aware and could offer condolences or allow the grieving person some peace. I find this representation of clothing and the era in which it was worn interesting because it partially aligns with the work I want to create. The question I ask myself about my work is: how can I use my installation to show my opposition to the new legislation in Ghana (and other African countries opposed to it), and how can I create a new visual language through art/clothing in my installation to show support for the queer community?
Gems gems gems (week 5)
Last Sunday, I acquired two mannequins that will serve as the foundation for my creative process. My idea is to transform these mannequins into characters living in a world where black identities are central, perhaps even aliens inhabiting a different planet. With the help of sketches I've made, I'll embark on bringing these characters to life and telling their story.
This project is a statement, inspired by the recent anti-gay legislation in Ghana. As an artist, I feel compelled to raise my voice and show solidarity with the queer community. By intertwining my work with this pressing issue, I aim to raise awareness and initiate a dialogue about the struggle for equality and acceptance.
WEEK 6 - AFROFUTURISME
Sources:
Artists.
April Bey
(Zohra Opoku, George Osodi, Zina Saro-Wiwa, Edson Chagas, Wura-Natasha Ogunji, Rotimi Fani-Kayode, Khadija Saye, Sabelo Mlangeni, Atong Atem, Julianknxx,)
Books & YT.
Fugitive Feminism; Akwugo Emejulu
Black Looks; Bell Hooks
TEDxtalk Jameel Paulin - Afrofuturism: A practice of radical self love.
This week, I found inspiration in the work of J. D. 'Okhai Ojeikere and Phyllis Galembo, two incredible artists featured in the book "Haute Africa." Their art, rich in references to rituals and vibrant colors, sparked my imagination as I brainstormed costume ideas for my upcoming graduation project.
Additionally, there was a compelling exercise by Maarten Bel, which prompted deep reflection on my identity as an artist and the essence of my creations. This exercise will serve as a valuable tool in my research and self-analysis, guiding me in defining myself both artistically and personally.
Furthermore, I had a moment to interview Adjoa, where we engaged in profound discussions about the art world, the concept of the white cube, and the formation of collectives. Adjoa provided valuable insights into Afrofuturism, enriching my understanding of this art movement.
As I continue to explore and evolve as an artist, I am reminded of the words of April Bey: "My father said; we are aliens. April Bey about her exhibition; If you're going through the art gallery, there are no protocols." These words resonate deeply with me, affirming the boundless possibilities and freedoms within the realm of art.
What I found particularly remarkable in both exhibitions was the use of symbolism and references to current events or history, as well as sayings from tribes, and so on. This has inspired me once again to create something for my graduation project. It brings a depth to the works that I ultimately want to create.
HAUTE AFRICA
WERELD MUSEUM
Last week, I started welding and creating a headpiece for the dolls that Nova and I are going to reframe. I have given the headpiece certain colors that link to the colors of Africa, specifically Ghana and Uganda, where laws against the LGBTQ community have recently been enacted. I am investigating how I can incorporate symbols and colors from myself and the curriculum into the installation I am going to create.
New Week, New Opportunities
Feedback and questions arising from my design, where I question how I can shape silent resistance in Ghana, Uganda, and Nigeria.
Questions and Answers:
Connection to education?
Do you want to make a connection to education, or is it standalone? It can be intertwined, but for now, it is a standalone project and not connected to education.
Recognition of symbols:
How will people see it if I wear it here? Will the symbols be understood? Good question! I could reach out to queer communities in parts of Africa via social media. I could explain the symbols and work together to spread them. But perhaps there are already forms of silent resistance, and I will need to research these!
Recognition of an anti-voice without danger:
How do you recognize an anti-voice without being at risk? Pablo and Fien are approaching WdKA.
Who will wear the garment?
Who do I want to wear the garment? Is it myself? Are they other Black queer identities? Is the garment for everyone? Good question; from the designer's perspective, the design is meant to be worn by queer identities from the African diaspora. This relates to the layers, (de)colonization, deepening into tribes and rituals, ancestors. And suppose Westerners do wear it.
Then I ask the following: have you delved into the situations currently happening in Africa? Do you know specific symbols and references, history? To what extent is your mind decolonized? To what extent are you willing to give up your privileges and make space for marginalized groups? Are you aware of your place in society and what do you contribute to others who are oppressed? Do you know who the ancestors of these oppressed people are?
Notes:
Queer resistance group - Radio Oranje All 43
How can you create a safe space in dangerous places?
Color references to events
Garment with secret signs to indicate where you stand
Ai Weiwei - resistance during wartime situations
When does an outfit become a costume?
How do I overcome opposition?
Pin down a niche, a small fragment of my research. I find this difficult!
Silent Resistance:
Zanele Muholi
Born Frees - Black queer identities in South Africa (townships). They live in a different reality than that of Apartheid, experiencing extreme violence and hate. These Born Frees fight to love and freely express their sexuality without fear of recrimination, open violence, or rape. Their self-expression is also evident in the way each dresses. With their gender-specific clothing codes, these young people claim and defend their space to exist. For example, 'masculine lesbians' choose masculine fabrics, and 'feminine lesbians' make statements by wearing provocative clothing and feminine fabrics. Some opt for African couture or traditional beads to emphasize that homosexuality is not un-African.
Wangechi Mutu
An interesting work of hers that resonates with me is Fallen Heads. At first glance, it looks like beautiful flowers and plants floating in a pink-hued sky. However, upon closer inspection, you see that they are falling, rolling heads with bloodstains around them. This work refers to the guerrilla executions by the state (Kenya) and political power. To me, this artwork reflects the artist's contemplation on the portrayal of the piece, what the perspectives are when viewing it. Subtle references to impactful historical events are present. This inspires my work because, from a distance, it appears cheerful and colorful, but up close, it is powerful and thought-provoking. I want to create something similar in my work.
Inspiration:
Afronauts - Cristina De Middel (Spain)
Marcel Pinas (Suriname)
Cheri Samba (Congo) - Symbolism in his work refers to events.
Ytasha L. Womack, writer of Afrofuturism: The World of Black Sci-Fi and Fantasy Culture, defines it as "an intersection of imagination, technology, the future, and liberation."
NOTE REGARDING MY MAIN QUESTION AND RESEARCH!
What do I want to convey?
Set aside the creation process for now and focus on my target audience. How can I integrate my subject into teaching practices? How can my interest in Afrofuturism align with education? Combine self-expression and resistance in textiles. Make it move in the living world and express it, also with the target audience. Textiles vs. resistance. The dialogues I want to start with a textile design. Because textiles tell many stories (African diaspora).
I need to involve the students in the creation process. Have the students sketch their costumes related to the musical to tell their own stories. Who are they? Where do they come from? What story does their design tell about themselves and their background?
How can Afrofuturism become something for everyone? How can I stay true to myself while making it accessible to everyone? What can I contribute during my internship? Design and release a series of lessons.
KUNSTHAL (ROTTERDAM,MAY)
Why did this exhibition inspire me?
The various dances from around the world were interesting to me because they represent different forms of expression for each country and individual within their culture. Additionally, I found the clothing with its layered costumes fascinating in how it moves, the colors, and the expression that, in my eyes, tell a story. The movements in the costumes release an energy that draws your eyes to the person and the clothing in which they move.
The woven cloth from Rotterdam, featuring various symbols, was also interesting because it contains different references to places, cultures, or art foundations in Rotterdam.
The RoboCop from Uganda intrigued me as well because it deals with resistance and the spread of propaganda to inform people.
TATE MODERN (LONDON,UK) APRIL
Artist Virginia Chichota
The colors in Virginia Chihota's work, such as the cool blue and purple tones, evoke certain emotions. As a viewer, you are invited to reflect on the feelings being portrayed. This demonstrates how colors can be used to convey deeper meanings and emotions. In Virginia's work, the person shares personal experiences and memories, which adds depth to the artwork for me. This inspires me to use textiles and other media to express emotions.
In the self-portraits of Mari Katayama, you see her surrounded by sculptures of hands and arms. These body parts are made of textiles and represent not only her own body but also the bodies of others in the community where she stayed. This symbolizes connection and interactions between individuals within a community. This inspired me to create textile designs that symbolically foster connection and interaction within the LGBTQ+ community. What I also find inspiring about Katayama's work is her use of different textures and materials, such as the contrast between soft fabrics and rough environments. This motivates me to use diverse materials to communicate emotion and a story.
In the artist's work, the sculptures that cover her body symbolize how she adapts and integrates other stories and parts of people into her own existence. For me, this illustrates the challenges of systems and acceptance in different environments and communities.
In this work by Petrit Halilaj, the artist performs various performances and tells stories in these costumes. This artwork appeals to me because of its grandeur and the simplistic shapes and color usage. This work inspires me both for the musical and for my own work.
BLACK CHILDISH - HET NIEUWE INSTITUUT (ROTTERDAM)
'LESS OR MORE DUTCH DESIGN' (MAY)
These Ghanaian artists inspired me because their work is very similar to the final visual work I plan to graduate with. Their works incorporate various symbols that refer to violence, colonization, geopolitical issues and propaganda that cause deception. I particularly like the translation into textiles, and the expression of resistance to systems is also evident in their work. My research is actually summarized and connected by these artworks.
Artist: top left - KUMFO DOMFO, top right - Tevin Blancheville, bottom left - POVIS
HET NIEUWE INSTITUUT (ROTTERDAM) - FASHION IN FLUX - (JUNE)
These Ghanaian artists inspired me because their work is very similar to the final visual work I plan to graduate with. Their works incorporate various symbols that refer to violence, colonization, geopolitical issues and propaganda that cause deception. I particularly like the translation into textiles, and the expression of resistance to systems is also evident in their work. My research is actually summarized and connected by these artworks.
Artist: top left - KUMFO DOMFO, top right - Tevin Blancheville, bottom left - POVIS
