Mother Jones
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“The power for me is to keep the story of the female in the center, to keep discussing and talking about women as protagonists,” Wangechi Mutu said in a video introduction to A Fantastic Journey, her recent exhibition at Duke University’s Nasher Museum of Art. For the casual art fancier who happens upon it, as I did this summer, the exhibition was like embedding in Mutu’s mind: Black globes of crumpled plastic hang on strings suspended from the ceiling, a looping video of the artist devouring cake flickers on the floor, and triumphant warrior women occupy magnificent collage landscapes on the walls.
Mutu, a Brooklyn transplant via Nairobi, deploys mixed media to grapple with themes of consumerism and colonization, of gender and race—and war. Her large, lush collages draw from images familiar to us, such as magazine photos of bare flesh and car engines, which she transforms into works that are mysterious, beautiful, and somewhat terrifying. Her animated short, The End of eating Everything, done in collaboration with the singer Santigold, depicts a colossal machine/beast/planet feeding on black birds while floating in a vast industrial dead space. In an interview discussing the piece, Santigold praised Mutu for her “explosive renewal” of artistic expression at a time when vapid materialism dominates the popular culture.
A Shady Promise The Speyer Family Collection, New York. © Wangechi Mutu.
Mutu’s work has shown all over the globe, from New York’s MOMA to London’s Tate Modern. On Friday, her Fantastic Journey continues with an opening at the Brooklyn Museum. Mutu took a break from installing to speak with me about warrior women, consumerism, and why magazines are the “fecal matter of society.”
Source article:
A Fantastic Journey Into the Mind of Collage Artist Wangechi Mutu
