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Yinka Shonibare – Nigerian Identity and Art's Limitations

DACS member, Yinka Shonibare talks to DACS about his work, processes and inspirations. His trademark material is the brightly coloured African batik, a fabric inspired by Indonesian design, mass-produced by the Dutch and eventually sold to the colonies in West Africa. In the 1960s the material became a new sign of African identity and independence. Yinka Shonibare MBE was born in 1962 in London and moved to Lagos, Nigeria at the age of three. He returned to London to study Fine Art, first at Byam School of Art (now Central Saint Martins College) and then at Goldsmiths College, where he received his MFA. Shonibare’s work explores issues of race and class through the media of painting, sculpture, photography and film. Shonibare questions the meaning of cultural and national definitions. His trademark material is the brightly coloured African batik fabric he buys in London. This type of fabric was inspired by Indonesian design, mass-produced by the Dutch and eventually sold to the colonies in West Africa. In the 1960s the material became a new sign of African identity and independence. Shonibare was a Turner prize nominee in 2004, and was also awarded the decoration of Member of the ‘Most Excellent Order of the British Empire’ or MBE, a title he has added to his professional name. Shonibare was notably commissioned by Okwui Enwezor at Documenta 11, Kassel, in 2002 to create his most recognised work ‘Gallantry and Criminal Conversation’ that launched him on to an international stage. He has exhibited at the Venice Biennale and internationally at leading museums. In September 2008, his major mid-career survey commenced at the MCA Sydney and then toured to the Brooklyn Museum, New York and the Museum of African Art at the Smithsonian Institution, Washington DC. He was elected as a Royal Academician by the Royal Academy, London in 2013. Shonibare’s work, ‘Nelson’s Ship in a Bottle’ was the 2010 Fourth Plinth Commission, and was displayed in Trafalgar Square, London, until January 2012. It was the first commission by a black British artist and was part of a national fundraising campaign organized by the Art Fund and the National Maritime Museum, who have now successfully acquired the sculpture for permanent display outside the museum's new entrance in Greenwich Park, London. ------------------------------------------------------------------- ABOUT DACS: Established by artists for artists, DACS is a not-for-profit visual artists’ rights management organisation. Passionate about transforming the financial landscape for visual artists through innovative new products and services, we act as a trusted broker for 100,000 artists worldwide. Founded over 30 years ago, DACS is a flagship organisation that campaigns for artists’ rights, championing their sustained and vital contribution to the creative economy. We collect and distribute royalties to visual artists and their estates through Payback, Artist's Resale Right, Copyright Licensing and Artimage. Since we were founded in 1984, we have paid over £100 million in royalties to artists and their estates – a significant source of income supporting artists’ livelihoods, their practice and legacy. MORE FROM DACS: Meet the Artist: Richard Parry    • Richard Parry – Zimbabwe and Hypocris...   Meet the Artist: Hew Locke – The Queen & Voodoo-esque Britishness    • Hew Locke – The Queen & Voodoo-esque ...   ------------------------------------------------------------------- FIND DACS ONLINE: www.dacs.org.uk www.instagram.com/DACSforArtists www.twitter.com/DACSforArtists www.facebook.com/DACSforArtists FIND YINKA SHONIBARE ONLINE: http://www.yinkashonibarembe.com