![]() ![]() ![]() The hangings embody Anatsui’s idea of the ‘non-fixed form’, and are part of his highly experimental approach to sculpture.Īnatsui engages with the poetic possibilities of his materials. Together, the past and present of Africa and Europe merge into sculptural forms that hang in the air and appear to float across the space. Up close, the bottle tops’ logos speak to the material’s social lives as commodities of a global industry built on colonial trade routes. Viewing the hangings from afar, a landscape of symbols is revealed: the moon, the sail, the wave, the earth, and the wall. Visitors are invited to embark on a journey of movement and interaction through the hangings, a dance between bodies and sculptures. Sourced in Nigeria, the liquor bottle tops used in this commission form part of a present-day industry built on colonial trade routes.īehind the Red Moon is staged as an artwork in three acts. The commission builds on Anatsui’s interest in histories of encounter and the migration of goods and people during the transatlantic slave trade. Crumpling, crushing, and stitching them into different compositions, large panels are pieced together to form massive abstract fields of colour, shape and line. El Anatsui’s Behind the Red Moon is a monumental sculptural installation made of thousands of metal bottle tops and fragments. ![]()
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