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    Hew Locke’s ‘Odyssey’ Flotilla Sails Through Global Colonial History and Current Affairs

    Installation view of ‘Hew Locke: Here’s the Thing’ (2019), Ikon Gallery, Birmingham. Photo by Stuart Whipps, courtesy of Ikon Gallery. All images © Hew Locke, courtesy of P·P·O·W, shared with permission

    Hew Locke’s ‘Odyssey’ Flotilla Sails Through Global Colonial History and Current Affairs

    June 10, 2025

    Art

    Kate Mothes

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    Through a multidisciplinary approach spanning painting, photography, sculpture, and installation, British artist Hew Locke OBE RA interrogates “the languages of colonial and post-colonial power, and the symbols through which different cultures assume and assert identity,” says P·P·O·W, which will present a series of the artists’ boat sculptures at Art Basel this month.

    Locke has long been interested in the time-honored traditions and spectrum of histories associated with watercraft. For Those in Peril on the Sea (2011), for example, incorporated 70 model boats that, when suspended from the ceiling, appeared to float in a colorful, eclectic flotilla. The artist combined customized models along with vessels made from scratch, representing different styles used around the world. “No crew are visible—the boats themselves are a symbol of the crew and passengers,” a statement says.

    “Odyssey 17” (2024), mixed media, 26 x 14 5/8 x 39 3/8 inches. Photos by Damian Griffiths

    Eight new vessels in Locke’s Odyssey series will sail through P·P·O·W’s booth at the art fair opening June 19. Representing a range of styles, from wooden gun ships and dreadnoughts to fishing boats and yachts, Locke adds colorful details like flags, painted patterns, patchwork sails, and onboard equipment.

    He invites us to consider the myriad associations with boats as fishing vessels, commuter ferries, military fleets, leisure cruises, and symbols of power, exploration, colonization, global conflict, and migration. As people continue to struggle across open seas in search of better lives, crowding onto ships and embarking on dangerous, or even deadly, voyages, maritime history converges with present-day events and global socio-political realities.

    “Fusing historical source material with a keen interest in current affairs, often through the juxtaposition or modification of existing artifacts, Locke focuses attention especially on the U.K., the monarchy, and his childhood home, Guyana,” P·P·O·W says.

    Sailors have also historically been famously superstitious, based on the inherent risks of their occupation, and they put a great deal of stock in omens. In “Odyssey 30,” for example, Locke illustrates the vessel’s sails with images of men being haunted by skeletons, an instance of memento mori that infuses the piece with a sense of foreboding.

    “Odyssey 30” (2024), mixed media, 21 5/8 x 35 7/8 x 6 3/4 inches

    Art Basel runs from June 19 to 22 in Basel, Switzerland. From September 2025, an installation titled Cargoes in King Edward Memorial Park, London, will take inspiration from the history of the site’s mercantile and dock communities. And the largest solo survey of the artist’s work to date, Hew Locke: Passages, continues at the Yale Center for British Art through January 11, 2026. See more on the artist’s website and Instagram.

    Installation view of ‘Hew Locke: Here’s the Thing’ (2019), Ikon Gallery, Birmingham. Photo by Stuart Whipps, courtesy of Ikon Gallery

    Detail of “Odyssey 30”

    “Odyssey 10” (2024), mixed media, 24 3/4 x 7 1/2 x 25 5/8 inches

    “Odyssey 22” (2024), mixed media, 15 3/8 x 7 7/8 x 28 3/4 inches

    Installation view of ‘Hew Locke: Here’s the Thing’ (2019), Ikon Gallery, Birmingham. Photo by Stuart Whipps, courtesy of Ikon Gallery

    “Odyssey 13” (2024), mixed media, 29 7/8 x 15 3/4 x 38 1/4 inches

    Detail of “Odyssey 30”

    “Odyssey 15” (2024), mixed media, 10 1/4 x 20 1/2 x 20 1/2 inches

    Detail of “Odyssey 15”

    “Odyssey 25” (2024), mixed media, 26 3/4 x 20 7/8 x 14 5/8 inches

    Detail of “Odyssey 10”

    Installation view of ‘Hew Locke: Here’s the Thing’ (2019), Ikon Gallery, Birmingham. Photo by Stuart Whipps, courtesy of Ikon Gallery

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    A Visit to Wangechi Mutu’s Nairobi Studio Explores Her Profound Ties to Nature and the Feminine

    
    Art
    Documentary

    #collage
    #colonialism
    #identity
    #nature
    #sculpture
    #video

    July 23, 2021
    Grace Ebert

    [embedded content]
    Kenyan-American artist Wangechi Mutu made history in 2019 when her four bronze sculptures became the first ever to occupy the niches of the Metropolitan Museum of Art’s facade. Stretching nearly seven feet, the seated quartet evokes images of heavily adorned African queens and intervenes in the otherwise homogenous canons of art history held within the institution’s walls.
    The monumental figures are one facet of Mutu’s nuanced body of work that broadly challenges colonialist, racist, and sexist ideologies. Now on view at San Francisco’s Legion of Honor is the latest iteration of the artist’s subversive projects: I Am Speaking, Are You Listening?  disperses imposing hybrid creatures in bronze and towering sculptures made of soil, branches, charcoal, cowrie shells, and other organic materials throughout the neoclassical galleries. The figurative works draw a direct connection between the Black female body and ecological devastation as they reject the long-held ideals elevated in the space.

    No matter the medium, these associations reflect Mutu’s deep respect for and fascination with the ties between nature, the feminine, and African history and culture, a guiding framework that the team at Art21 explores in a recently released documentary. Wangechi Mutu: Between the Earth and the Sky visits the artist’s studio in her hometown of Nairobi and dives into the evolution of her artwork from the smaller collaged paintings that centered her early practice as a university student in New York to her current multi-media projects that have grown in both scope and scale.
    Whether a watercolor painting with photographic scraps or one of her mirror-faced figures encircled with fringe, Mutu’s works are founded in an insistence on the value of all life and the ways the earth’s history functions as a source of knowledge, which she explains:
    I truly believe that there’s something about taking these bits and pieces of trees, and animals and completely anonymous but extremely identifiable items and placing them somewhere that draws their energy, wherever they were coming from, whatever they did, whatever molten lava they came out of a million years ago, that is now in my work and that little piece of energy is magnified.
    Dive further into Mutu’s practice by watching the full documentary above, and see a decades-long archive of her paintings, sculptures, collages, and other works on Artsy and Instagram.

    #collage
    #colonialism
    #identity
    #nature
    #sculpture
    #video

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    Two Imposing Cubes Covered in Yellow Plastic by Artist Serge Attukwei Clottey Respond to Global Water Insecurity

    
    Art

    #climate change
    #colonialism
    #installation
    #plastic
    #water

    March 16, 2021
    Grace Ebert

    “The Wishing Well” (2021) in Coachella Valley. All images © Serge Attukwei Clottey, courtesy of Desert X, by Lance Gerber, shared with permission
    A mottled patchwork of plastic cloaks two cubes that tower over the desert landscape of Coachella Valley. Titled “The Wishing Well,” the bright pair are the work of Ghanaian artist Serge Attukwei Clottey, who created the nine-foot pieces from scraps of Kufuor gallons, or jerrycans, in response to shared struggles with water insecurity that ripple across the world. Resembling a yellow brick road, a paved walkway connects the two woven structures that stand in contrast to the surrounding environment, which faces continual struggles with access to the natural resource.
    Clottey’s use of the material is tied to a larger critique of colonialism’s enduring legacy and the ways it continues to affect populations around the world, particularly in relation to the climate crisis. Originally,  European colonialists brought Kufuor gallons to Ghana to transport cooking oil. Today, the plastic vessels are ubiquitous and used to haul potable water. “As repurposed relics of the colonial project, they serve as a constant reminder of the legacies of empire and of global movements for environmental justice,” says a statement about the work that’s part of Desert X, a biennial bringing site-specific installations to Southern California.
    “The Wishing Well” is one facet of Clottey’s larger Afrogallonism project, which he describes as “an artistic concept to explore the relationship between the prevalence of the yellow oil gallons in regards to consumption and necessity in the life of the modern African.” The Accra-based artist works in a variety of mediums spanning installation, sculpture, and performance that deal with the broader influence of colonialism in Africa. You can see a larger collection of his pieces on Artsy and Instagram.

    #climate change
    #colonialism
    #installation
    #plastic
    #water

    Do stories and artists like this matter to you? Become a Colossal Member and support independent arts publishing. Join a community of like-minded readers who are passionate about contemporary art, help support our interview series, gain access to partner discounts, and much more. Join now!

     
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