More stories

  • in

    From Computer Keys and Bottle Caps, Moffat Takadiwa’s Tapestries Collapse Geographies

    “Age of Exploration” (2024), computer keys and toothbrush head in plastic, 43 5/16 × 94 1/2 × 1 15/16 inches

    From Computer Keys and Bottle Caps, Moffat Takadiwa’s Tapestries Collapse Geographies

    October 23, 2024

    ArtSocial Issues

    Kate Mothes

    Share

    Pin

    Email

    Bookmark

    For the past ten years, Moffat Takadiwa has collected discarded computer keyboards, toothbrushes, pens, and bottle caps among numerous other objects. He conceives of sweeping, abstract forms that from a distance emphasize curving, organic forms and pops of color. Up close, the pieces reveal deconstructed, everyday items bound into expansive tapestries.

    Based in Mbare, a working-class suburb of Harare, Zimbabwe, Takadiwa taps into the city’s informal economy of recycling and reselling the vast quantities of second-hand electronics and plastics imported from Europe.

    Detail of “Age of Exploration”

    Since the late 20th century, artists like El Anatsui, Ifeoma U. Anyaeji, and Takadiwa have comprised a dynamic movement of African artists who work exclusively with recycled or repurposed materials.

    In his solo exhibition, The Reverse Deal at Semiose, the artist continues his exploration of the legacy of colonialism, geography and global trade, and the visual potential of language. The title reads like a trade agreement, nodding to historical economic and political maneuvers by European nations to control the flow of goods through colonized African regions.

    The computer keys represent what the artist describes as a decolonized vocabulary, connecting the present to the past while addressing the nature of interdependent communities around the world.

    “Moffat Takadiwa’s works are akin to algorithms relentlessly producing variants of the same narrative,” says curator N’Gonné Fall in the exhibition statement.

    “Yellow for Gold” (2024), toothbrush heads, belt buckles, and computer keys, 92 15/16 × 74 7/16 × 3 15/16 inches

    The artist consistently returns to the motif of the circle, invoking a symbol of infinity and a universal form found in everyday objects. The shape also mirrors of the outline of Great Zimbabwe, the medieval capital of a kingdom that spanned present-day Zimbabwe and Mozambique.

    He is fascinated by the role of waterways as transport routes for goods, both historically and today, and the way vestiges of colonialism continue to impact contemporary society.

    The Reverse Deal in Paris through November 16. Takadiwa is also represented by Nicodim, where you can explore more of his large-scale works, and find more on the artist’s Instagram.

    “Belt re-simbi/metal belt” (2024), plastic computer and calculator keys and belt buckles, 57 1/16 × 143 11/16 × 5 7/8 inches

    Installation view of ‘The Reverse Deal’ at Semiose, Paris

    “White Circle” (2023), computer keys in plastic, 69 11/16 × 69 11/16 inches

    “The tobacco farms” (2024), computer and calculator keys, bottle tops, and toothbrushes in plastic, 78 3/4 × 57 1/16 × 1 15/16 inches

    “White toothpaste b” (2024), tubes of toothpaste, defunct bank notes, and metal belt buckles, 21 5/8 × 19 11/16 × 19 11/16 inches

    Installation view of ‘The Reverse Deal’ at Semiose, Paris

    Detail of “KoreKore Handwriting III” (2023), computer keys and toothbrush heads in plastic, 100 13/16 × 67 11/16 inches

    Do stories and artists like this matter to you? Become a Colossal Member now, and support independent arts publishing.

    Hide advertising

    Save your favorite articles

    Get 15% off in the Colossal Shop

    Receive members-only newsletter

    Give 1% for art supplies in K-12 classrooms

    Join us today!

    $7/month

    $75/year

    Explore membership options

    Previous articleNext article More

  • in

    In ‘Spirit Level,’ Tau Lewis’s Monumental Figures Usher in an Unearthly World

    Installation view of ‘Tau Lewis: Spirit Level’ (2024) at the Institute of Contemporary Art/Boston. Photo by Mel Taing. All images courtesy of ICA Boston, shared with permission

    In ‘Spirit Level,’ Tau Lewis’s Monumental Figures Usher in an Unearthly World

    September 6, 2024

    Art

    Grace Ebert

    Share

    Pin

    Email

    Bookmark

    At the Institute of Contemporary Art in Boston, Tau Lewis (previously) presents a vast cosmology in which monumental, mythic beings herald in a new world. Five figures stand nearly 11 feet tall in draping garments, their hands positioned in distinctive gestures. With titles like “The Doula” and “The Reaper,” each bears a particular role as they loom over a large circular quilt at the center of the gallery floor.

    From found fabrics and objects, Lewis created the towering sculptures for Spirit Level, her first solo museum show in the U.S. The Toronto-born artist maintains a robust collection of materials in her Brooklyn studio, which she painstakingly stitches and sculpts into unearthly beings. These works continue her interest in how objects hold meaning and memory.

    “Mutasis Moon” (2021), recycled leather, seashells, sand dollars, acrylic paint, PVC pipe, galvanized steel, muslin, and recycled poly fibers, 40 x 40 x 25 inches. Photo by Pierre Le Hors, courtesy of the artist and Sadie Coles HQ, London, © Tau Lewis

    Her 2021 figure “Mutasis Moon,” for example, is an alien-like creature with four eyes and turquoise hands. Wrapped around a galvanized steel and PVC armature, the friendly painted-leather figure stands with arms outstretched as if welcoming the viewer.

    In Spirit Level, remnants of clothing, muslin scraps dyed with rust, snakeskin, conch shells, and coral bone merge, transposing the materials’ origins into new contexts. “The Doula,” for instance, wears a dark green, blue, and brown gown of leather and suede and is what the artist calls a “portrait of the sea.” Conjuring the dark depths of the ocean, the sculpture alludes to a space where life and death coexist.

    The gold-outfitted figure is titled “The Handle of the Axe,” which references the epigraph of Alice Walker’s 1992 novel Possessing the Secret of Joy that states: “When the axe came into the forest, the trees said, ‘the handle is one of us.’” Arms open for an embrace, the sculpture draws on the tensions between the desire for nonviolence and the struggle for liberation.

    At the center of the figures is “The Last Transmission,” the sprawling quilt that radiates outward from a starfish at the center. Small fabric panels adorned with glass, beads, and wire form an elaborate patchwork, appearing as an architectural portal to another universe.

    Spirit Level is on view in Boston through January 20, 2025, after which it will travel to David Zwirner in Los Angeles. Find more from the artist on her website and Instagram.

    Installation view of ‘Tau Lewis: Spirit Level’ (2024) at the Institute of Contemporary Art/Boston. Photo by Mel Taing

    “Harmony” (2019), recycled leather, recycled poly fibers, rebar, wire, hardware, seashells, stones, and acrylic paint, 39 3/4 x 47 x 35 inches. Image © Tau Lewis

    “Knot of Pacification” (2021), recycled leather, wool, and suede, 114 x 100 inches. Image courtesy of the artist and Night Gallery, Los Angeles, © Tau Lewis

    Installation view of ‘Tau Lewis: Spirit Level’ (2024) at the Institute of Contemporary Art/Boston. Photo by Mel Taing

    Installation view of “The Last Transmission” (2024), recycled leather and suede, cotton canvas, acrylic paint and finisher, natural dyes, assorted found metal, wood, ceramic, and glass objects, wire, beads, seashells, coated nylon thread, and coated cotton thread, overall diameter approximately 240 inches. Photo by Mel Taing

    Detail of “Mutasis Moon” (2021), recycled leather, seashells, sand dollars, acrylic paint, PVC pipe, galvanized steel, muslin, and recycled poly fibers, 40 x 40 x 25 inches. Photo by Pierre Le Hors, courtesy of the artist and Sadie Coles HQ, London, © Tau Lewis

    “Venus in Leo” (2023), steel, wood, enamel paint, acrylic paint, leather dye and finisher, recycled leather and suede, recycled fabric, found jewelry, clam shells, and coated nylon thread, 68 x 18 x 18 inches. Photo by Charles Benton, courtesy of the artist, Night Gallery, Los Angeles, and JTT, New York, © Tau Lewis

    Detail of “Venus in Leo” (2023), steel, wood, enamel paint, acrylic paint, leather dye and finisher, recycled leather and suede, recycled fabric, found jewelry, clam shells, and coated nylon thread, 68 x 18 x 18 inches. Photo by Charles Benton, courtesy of the artist, Night Gallery, Los Angeles, and JTT, New York, © Tau Lewis

    Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month.

    Hide ads on website and newsletters

    Save your favorite articles

    Get 10% off in the Colossal Shop

    Members-only newsletter

    1% for art supplies in classrooms

    Join us today!

    $7/Month

    $75/Year

    Explore Membership Options More

  • in

    On Vintage Objects, David Cass’s Paintings Summon the Sea

    Work in progress for ‘Where Once the Waters.’ All images © David Cass, shared with permission

    On Vintage Objects, David Cass’s Paintings Summon the Sea

    September 5, 2024

    Art Climate

    Kate Mothes

    Share

    Pin

    Email

    Bookmark

    For David Cass, the sea offers an endless source of wonder at its depths, history, bounty, and sometimes ferocity. Based between the Scottish Borders and Athens, the artist (previously) has long been fascinated by the power of water, especially its increasing vulnerability to the effects of the climate crisis.

    On found objects like tins and matchboxes to book pages and antique pulleys, Cass repeats motifs of waves and distant marine horizons in oil and gouache. In Light on Water, his current solo exhibition at The Scottish Gallery, the artist continues to address the warming and rapid rising of ocean levels around the world through paintings that hover between abstraction and representation.

    “Reach” (2022-23), oil and oil bar on primed bus blind on board, 75 x 75 centimeters

    While creating much of the work for the show at his studio in Greece, Cass considered the landscape outside—its islands and peninsulas encompassed by water. He observed how the rippling surface can transform its appearance moment by moment due to the weather or time of day. Although “a threat rests behind this mesmeric picture,” he says in a statement. “In this exhibition, light also represents heat.”

    Cass draws attention to estimates that 91 percent of Earth’s excess heat energy trapped in the climate system is stored by our oceans. As the planet continues to warm, this storage capability disappears, threatening all manner of life.

    The artist calls on a time before we were aware of climate change, evoking the Industrial Age—incidentally, the dawn of greenhouse gases—in a series of oil paintings titled 500 Years that subtly nod to the Old Masters.

    Light on Water continues through September 28 in Edinburgh. Find more on Cass’s website and Instagram.

    “September 2020 – April 2024, Norfolk” (2020-24), gouache on c.18th-century solid oak plank door, 77 x 196 x 4 centimeters

    “October 2017,” gouache on card

    “Pulley I – Rockport, ME” (2023-24), oil on marine pulley, 23 x 11.5 x 8 centimeters

    “500 Years (after Van Eertvelt) II” (2023-24), oil and pencil on gessoed chest panel, 22 x 29 centimeters

    “September 2020 – April 2024, Norfolk” (2020-24), gouache on c.18th-century solid oak plank door, 77 x 196 x 4 centimeters

    Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month.

    Hide ads on website and newsletters

    Save your favorite articles

    Get 10% off in the Colossal Shop

    Members-only newsletter

    1% for art supplies in classrooms

    Join us today!

    $7/Month

    $75/Year

    Explore Membership Options More