Bush Babies 2017

Editor: Njideka Akunyili Crosby's "Bush Babies," made in 2017, is a fascinating mixed-media piece. The layered images create such an interesting depth, and the greens are incredibly vibrant. How would you interpret this piece? Curator: I'm immediately drawn to the materiality of the work. Look at how she incorporates different fabrics and printed materials. This isn't just about the representation of figures or landscape. The very act of layering, the labor involved in constructing these surfaces from diverse elements, speaks volumes about cultural hybridity. Do you notice how these textures disrupt any singular reading? Editor: Absolutely, it's like a collage, but more fluid. I see the figures almost dissolving into the background. Is she commenting on something about identity and place? Curator: Precisely! Consider the social context. Akunyili Crosby, as a Nigerian-American artist, often explores the complexities of belonging and displacement. The overlaid images of Nigerian life printed onto the canvas become physical traces of memory and history, challenging the notion of a fixed or authentic cultural identity. Editor: So, the materials themselves are integral to the meaning, not just the imagery? Curator: Exactly. The process of creating the piece, the very labor invested in assembling these disparate materials, becomes a central part of its narrative. It dismantles traditional art hierarchies by blurring the line between high art and craft, inviting us to consider the value embedded in both the idea and the execution. The medium truly becomes the message. Editor: That's a perspective I hadn’t fully considered. Thanks, it really highlights how process and materials are so central to its impact. Curator: My pleasure! Looking closely at the materials used opens new paths to understanding the artist’s purpose.