Comparative Study (SL)

Student code: gcj263

Introduction to Theme
● I chose the theme of borders (geographical, ideological, cultural), since borders are becoming
a very relevant and pressing issue in today’s world. The three artworks I chose have to do with
geographical and cultural borders.
● I chose to analyze Yinka Shonibare’s work due to his authenticity in terms of culture and
heritage. He deals with culture immensely in his artwork and is familiar with the ways in which
borders work. Much like myself, he grew up double-cultured, and his artwork reflects his
cultural identity.
● I chose Naeem Mohaiemen’s work after viewing it in the Samdani Art Gallery in Dhaka. It
immediately struck my interest because throughout my childhood my parents have always told
me about the subject of his artwork- Kazi Nazrul Islam and how he was our national poet. I was
also fascinated by the irony of him becoming mute.
● After attending one of Reena Saini Kallat’s presentations in the American School Bombay in
Mumbai during a SAISA Art conference, I was intrigued by her use of mixed media to portray
different aspects of culture including links and barriers between them. I looked into her work to
find that she explores the theme of borders intricately in her artworks.
 Yinka Shonibare “Scramble for Africa” (2003)- Description
https://tinyurl.com/hlaozto
● Fiberglass Mannequins
● Dutch wax printed cotton
● Tables, Chairs (Yinka Shonibare MBE)
Yinka Shonibare is a Nigerian-British artist who explores
cultural identity, class, and race, through his artwork. In
Scramble For Africa, Shonibare uses headless fiberglass
mannequins and Dutch wax printed cotton to create headless
figures (Yinka Shonibare MBE). The figures are sitting on
wooden chairs circled around a rectangular table containing
an image of Africa. Each figure has a different hand motion,
however all are inwards towards the center. The Dutch wax
printed cotton material is worn by each fiberglass mannequin
and each have a variety of dominantly warm colors and
different patterns. The figures are sitting on dark wooden
chairs, which create shadows underneath. The backdrop is
also a warm orange similar to the skin tones of the figures. .
The entire structure is placed on a raised platform which is lit
from underneath, creating a dramatic effect by adding value to
the colors of the figures and creating shadows underneath the
figures. There is minimal space between figures, however a
large open space in the table.
Yinka Shonibare “Scramble for Africa” (2003)-Analysis
Bodies towards the center-
emphasis on image on table
http://universes-in-universe.org/var/storage/images/me
dia/images/specials/2010/who_knows/shonibare/neu/2
1/799851-1-eng-GB/21.jpg
The figures’ bodies and hands have the same
direction- towards the center of the table causing
movement of the viewers eyes from the figures
to the center of the table, thus creating emphasis
on the center, where the 2D image of Africa is
located. The table occupying the entire space
between the figures elicits a sense of unity as it
connects figures. In addition there is very little
space from figure to figure, with some figures
physically touching the next. However there is
also a division due to the different varieties of
patterns worn by each figure. The negative
space due to the lack of heads of the figures also
creates unity between the figures, with the only
object dividing them being the table containing
the image of Africa.
Yinka Shonibare “Scramble for Africa” (2003)-Interpretation & Cultural
Context
Yinka Shonibare makes an allusion to the Berlin
Conference of 1844 through Scramble for Africa (Yinka
Shonibare MBE). The function of the headless figures is
to represent the mindless lust for pieces of Africa carried
by European powers at the time. The function of the
piece is to remind viewers of the racism that shaped
today’s world through a depiction of the real life historical
event of the callous splitting of a populated continent. It
is almost as if they are taking “a slice of this magnificent
cake” as it was referred to, by King Leopold II of Belgium
(Yinka Shonibare MBE). The Dutch wax printed cotton
worn by the figures is a representations of the
authenticity of Shonibare as these fabrics were originally
Dutch made but sold to the African market (Downey)
similar to how Shonibare was born in Europe but raised https://upload.wikimedia.org/wikipedia/commons/5/
in Africa (Greenstreet). It is referred to as both a fake and 5c/Afrikakonferenz.jpg
authentic to Africa as it was a colonial product (Downey).
Naeem Mohaiemen “Kazi in Nomansland” (2008) Description and Analysis
Multiple lights creating
Naeem Mohaiemen is a Bangladeshi artist. In Kazi in
shadows in different Nomansland, Ahnaf Mohaiemen uses real stamps to form
directions
Repetition of rectangular three piles. Each pile is of differing height. Warm colors are
shape also dominant in this artwork as the faces of two piles are red
stamps and the third is yellow. Lights hit each of the stamps
from above, generating emphasis on each pile and creating
Warm colors
shadows on each side. Each of the stamps contain portraits of
the same character, Kazi Nazrul Islam. Each of the portraits
have high contrast: comprised by extremely dark and
https://tinyurl.com/hmn4f7n
extremely light values. The edges of the stamps have a
● 3 piles of stamps
prickly texture and are all white. The artwork is primarily a
● Each stamp 3.75 x 5cm.
repetition of rectangular shapes with contrasting values and
Mohaiemen uses the multiple light sources from above to create warm hues.
emphasis on the three piles of stamps. The piles are each of
different height in order to create contrast among them. The Prickly
texture
space in between each pile serves to establish invisible borders.
The repetition of rectangular shapes and overlapping constructs
a balance within the artwork despite its asymmetry. The result is
a contrasting blend of unity and separation.

http://www.departmag.com/index.php/en/detail/155/Kazi-in-Nomansland
 Naeem Mohaiemen “Kazi in Nomansland” (2008) Interpretation & Cultural
Context Kazi Nazrul Islam, the subject of this artwork in itself is an irony.
The expressive revolutionary poet had an illness that left him
Kazi Nazrul Islam
mute, thus limiting his communication. Nazrul himself
transgressed borders in multiple ways (Vasvani). For example, he
would always cross religious borders by writing poetry about
both Islam and Hinduism. In addition, Nazrul was very political in
nature and would use religion and culture to make himself heard.

This artwork, is a representation of the reinforced border

http://en.banglapedia.org/images/0/05/IslamKaziNazrul.jpg
between the three countries of India, Bangladesh and Pakistan
who each have once contained an image of Kazi Nazrul Islam in
their national stamps. Each country tries to make Kazi their own.
However, ironically, the artwork depicts a sense of unity between
the countries as all their stamps have the same character that is
portrayed in a similar manner. The result is a combination of
separation between the three countries and the unity between
them.
Reena Saini Kallat “Woven Chronicles” (2015) Description & Analysis
https://tinyurl.com/j2ok5x9
● Circuit boards
● Speakers
● Electrical wires
Reena Saini Kallat uses electrical wires to weave a map of the
world. Lines start all the way at the edges of the installation
and appear to connect each area of it. A closer look reveals
checkered diagonal crossings of the wires resembling barbed
wire. Subtle tones of red yellow and blue are present but
lacking values. The wire closes off in various places to create
distinct shapes of continents and leaving negative space in
between them to represent the seas. Most of the structure is
2D with the exception of the barbed wire and the speakers
that are solid 3-Dimensional objects. (Vancouver Art Gallery)
The electrical wires from the edges to the center of the
artwork directs the movement in the viewer's eyes from
continent to continent. The wires coming off from each side
also creates a sense of balance. The wires connecting each
continent elicit a sense of unity in the piece. The variety of
2-Dimensional and 3-Dimensional objects along with the
movements of the lines holds the attention of the viewer and
guides him/her through the work.
Reena Saini Kallat “Woven Chronicles” (2015) Interpretation & Cultural Context
Reena Saini Kallat uses electrical wires to represent
migration of people over time (Maier). The wires are
used to represent the flow of culture and ideas that
weave the world (Maier). Through her artwork she
demonstrates how the movement of people is
greater than ever before (Maier). However, Kallat
also explains how the wire patterns resembling
barbed wire is also a representation of how the
borders are also evolving to be more controlled
(Maier). The positivity of connection brought by the
free wire soon forms the negative ideas of barriers
(barbed wire). Thus, the artwork demonstrates a
https://tinyurl.com/houmwg2
contradiction regarding borders and migration in
● Circuit boards today’s world. Reena Saini in particular, expresses
● Speakers
● Electrical wires the movement of labor migrants as she believes they
serve a crucial role in forming cultural exchanges.
 Comparing Formal Qualities
Yinka Shonibare Naeem Mohaiemen Reena Saini Kallat
“Scramble for Africa” “Kazi in Nomansland” “Woven Chronicles”
(2003) (2008) (2015)

Colors Both use dominant warm colors, mostly tones of red and Colors are not dominant.
yellow.

Form All three have both 2-Dimensional and 3-Dimensional factors working together to produce the
artworks.

Line & Shape Both “Scramble for Africa”
and “Woven Chronicles” use
line to construct maps and
cause movement in viewer’s
eyes
Line used to form shape of Both “Scramble for Africa” and
face on stamps. Rectangular “Woven Chronicles” use line to
shape is dominant. construct maps and cause
movement in viewer’s eyes

Texture Looks as if all structures Both look as if they have prickly textures.
have smooth texture.
 Comparing Formal Qualities
Yinka Shonibare Naeem Mohaiemen Reena Saini Kallat
“Scramble for Africa” (2003) “Kazi in Nomansland” (2008) “Woven Chronicles”
(2015)

Space All three artworks use negative space in order to supplement the conceptual framework for their art. In Yinka
Shonibare’s artwork, the negative space of the capitated heads raises questions of who is at the table. In
Naeem Mohaiemen’s artwork, the negative space between the three different stamps serve to show the division
of the nations, and in Reena Kallat’s artwork, the negative space within the lines across the ocean and into the
speakers direct the viewer through the artwork to depict movement of humans.

Balance In “Scramble for Africa” and
“Woven Chronicles,” balance is
created from the array of color
schemes in the artworks.
Balance is created in this artwork through
shapes. The sizes of the dimensions of
each of the stamps are similar to each
other, however the different numbers of
them in each stack also create an
asymmetrical balance.
In “Scramble for Africa” and
“Woven Chronicles,” balance
is created from the array of
color schemes in the
artworks.

Unity Texture creates unity in each of the pieces. In Yinka Shonibare’s work, the texture of the silk is worn by each of
the figures, the repetition of which creates unity in the piece. Similarly, the texture of the prickly edges of each of
the stamps in each of the stacks creates unity in Naeem Mohaiemen’s work, and the texture of the wire running
all throughout Reena Saini Kallat’s work also establishes unity in her installation.
 Comparing Conceptual and Cultural Significance
Similarities Differences

Similarities between all three artworks: ● Naeem Mohaiemen work

● All three artworks have a sense of separation. deals with three
● All three artworks have references to geographical borders countries, Yinka
● All three works allude to historical events. Shonibare’s deals with an
● All three artworks contain elements of situational irony. entire continent, and
● All three artworks depict the impact borders have on humans. Reena Kallat’s work
● All three artworks depict the impact borders have on humans and freedom of movement. illustrates borders in the
entire world
● Naeem Mohaiemen’s
Similarities between “Scramble for Africa” and “Woven Chronicles”: work requires specific
● Both Yinka Shonibare and Reena Kallat seek to educate the viewer both metaphorically and cultural knowledge to
literally through their artworks. understand and relate
with, Yinka Shonibare’s
Similarities between “Kazi in Nomansland” and “Scramble for Africa” needs certain historical
● Yinka Shonibare and Naeem Mohaiemen work have direct, specific links to each of their own context, while Reena
respective heritages, while Reena Kallat’s work is more concerned with globalisation and Saini’s work can be
movement of people all over. interpreted without any
sort of specific historical
or cultural background
Similarities between “Woven Chronicles” and “Kazi in Nomansland” information.
● While “Scramble for Africa” is conceptually solely based on separation, the other two artworks
also have a sense of unity between nations.