•  Portrait of a ghetto blaster

    My fascination with the iconic ghetto blaster emanates from a deep-rooted desire that took hold in my youth. Growing up with an affinity for urban music genres such as hip-hop and R&B, the allure of possessing a portable sound system that allowed me to immerse myself in music, while sharing it with others, became an enduring aspiration. This artwork embodies that sentiment, utilizing vibrant colors to capture the euphoria and the boundless joy that the ghetto blaster represents to me, while evoking a sense of nostalgia for a time when music and community converged in the streets

    The iconic ghetto blaster, also known as the boombox, holds a significant place in the history of urban culture, particularly in the 1980s. It was a portable music player, often powered by multiple batteries, featuring built-in speakers and a handle for easy transportation. Ghetto blasters were more than just a music player—they represented freedom, individuality, and a cultural revolution.

    Origins:
    The first boombox was developed in the Netherlands by Philips in 1969. In the United States, the popularity of these portable sound systems soared during the late 1970s and early 1980s, largely due to their association with the burgeoning hip-hop scene.

    Cultural Significance:
    The ghetto blaster became an emblem of urban street culture, especially in African-American and Hispanic communities. Young people would gather on street corners, breakdancing and emceeing, sharing their music and showcasing their skills. Ghetto blasters were instrumental in the rise of hip-hop and rap music, enabling artists to perform and share their work in public spaces.

    Design:
    Ghetto blasters were known for their large size, powerful speakers, and impressive sound quality. Some models even featured built-in equalizers, LED displays, and advanced audio features. As they evolved, manufacturers began incorporating cassette decks, and later, CD players, to broaden their appeal and functionality.

    Legacy:
    Today, the ghetto blaster has largely been replaced by smaller and more technologically advanced music players such as smartphones and portable Bluetooth speakers. However, the boombox remains an iconic symbol of a bygone era, evoking nostalgia for a time when music and street culture were intrinsically intertwined. Its impact on the development of hip-hop and urban culture cannot be overstated, leaving a lasting legacy that still resonates with music lovers worldwide.

    What’s not to love.


  • Exploring the Artistic Genius of Yinka Shonibare

    Hello lovers of art

    Today, we’re diving into the vibrant world of Yinka Shonibare, an extraordinary British-Nigerian artist renowned for his thought-provoking works that blend cultural narratives and historical themes. Let’s take a closer look at his unique methods that make his art so captivating!

    The Shonibare Method: A Fusion of Culture and History

    1. Batiks and Textiles:
    • Signature Fabric: Shonibare is famous for using Dutch wax-printed fabrics, often associated with African identity. These vibrant textiles, originally manufactured in Europe and later popularized in Africa, symbolize the complex history of trade and colonialism.
    • Cultural Commentary: By incorporating these fabrics into his sculptures and installations, Shonibare challenges notions of authenticity and identity, questioning what is truly “African.”
    Decolonised Structures (Kitchener), 2022
    Fibreglass, hand-painted with Dutch wax pattern, and wooden plinth

    YINKA SHONIBARE

    1. Historical References:
    • Victorian Era: Many of Shonibare’s works reference the Victorian period, juxtaposing Western historical motifs with African textiles. This blend critiques colonial histories and highlights the interconnectedness of global cultures.
    • Classical Art Forms: He often reinterprets classical European paintings and sculptures, dressing historical figures in vibrant African prints to create a dialogue between different cultures and eras.
    1. Headless Figures:
    • Symbolism: Shonibare’s use of headless mannequins is a powerful symbol of the loss of identity and anonymity of colonial subjects. These figures often appear in dynamic, theatrical poses, evoking narratives of power, control, and freedom.
    • Interactive Installations: These headless sculptures are frequently arranged in scenes that invite viewers to contemplate the complexities of history, identity, and globalization.
    1. Multimedia Approach:
    • Sculpture and Installation: Shonibare excels in creating immersive installations that combine sculpture, textiles, and found objects, transforming spaces into historical narratives.
    • Photography and Film: His foray into photography and film allows him to explore his themes in a dynamic, narrative-driven format. Works like “Un Ballo in Maschera” blend costume, performance, and storytelling.

    Impactful Themes:

    • Colonialism and Post-Colonialism: Shonibare’s work delves into the legacy of colonialism, exploring how it shapes contemporary identity and cultural exchanges.
    • Globalization: His art addresses the complexities of globalization, emphasizing how cultures influence and reshape one another.
    • Identity and Power: Through his unique visual language, Shonibare examines the fluid nature of identity and the power dynamics within historical and modern contexts.

    Experience the Art of Yinka Shonibare:

    Discover the mesmerizing world of Yinka Shonibare and let his art challenge your perceptions of history, culture, and identity. His work is a vibrant tapestry that weaves together the past and present, prompting us to reflect on our own place within the global narrative.

    🔗 Join the Conversation:

    Have you experienced Shonibare’s art? Share your thoughts and favorite works using #ShonibareArt and let’s celebrate the rich, dynamic stories he brings to life!

    Stay inspired and keep exploring!

    Decolonised Structures (Churchill), 2023
    Fibreglass, hand-painted with Dutch wax pattern, and wooden

    The images are from SUSPENDED STATES @ SERPENTINE SOUTH

    12 April – 1 sept 2024

  • Chris ofili

    The seven deadly sins

    The great beauty
    The crowning
    The swing
    The fountain
  • Edit edit edit
  • Black girl in turban with Afro comb
  • Day to night

    Hello everyone today I’d like to talk about these 2 images one is an evolution of the other the first exhibits all the bright optimism of a bright spring morning yellow background flowers in the hair and bold shapes creating a halo

    The background flowers in hair

    As far as I’m concerned monochrome is the best background for making colour pop and a pattern is a good way of adding texture and character taking the mood in the opposite direction

    opinions welcome

    Tracy

  • Daily writing prompt
    Do you practice religion?

    religion to me has always been something my parents told me I should follow

    and for a time I did

    but now I only believe in the things that I can see and feel

    and the practices of good design.

  • THIS BLACK GIRLS ART

    ThisBlackGirlsArt

    early in my development as an artist/ designer a major influence came thanks to the time I spent with my father who would paint designs onto glass, first planning and designing a reverse version of the wording and florals he wanted to use followed by the application of paint One layer and colour at a time building up a complete picture, at the end being blown away me away with the big reveal when it was finally right side up

    By the time I was twelve I Wanted to be a fashion designer. I loved the idea of playing with all kinds of beautiful fabric of varying texture and colour as well as the mastery of form, through pattern cutting.

    focused on fashion, I went on to Southwark college where I took on a 2 year course in art and design in the 1st year learning a lot about several areas of design Fashion graphics multimedia the history of art etc.

    Midway through the 1st year of college I was stopped in my tracks by one of our fantastic tutors, her name was Sarah she was great at pointing out your strengths and weaknesses. She noticed that I seamed to prioritise working on surface pattern design and had a talent for it, rather than concentrating on my pattern cutting skills which is a must for garment construction and becoming a fashion designer. After a rethink. I realised She had a point, I was more interested in the pattern. All these Years later I’m still a freelance surface print designer for fashion and interiors.

    Eg. Of my surface pattern design work

    But surface pattern design is more about obeying trends that come around more and more often sometimes so quickly they are more like design staples and when you have reworked the same idea many times it can loose it’s lustre

    I love art because of it’s ambiguity Leaving the viewer to draw their own interpretation and to move you mentally and emotionally this is about pushing myself and seeing where it takes me, I love art and want to share the results of my exploration starting here

    Self

    When drawing self, I wanted to get across a sense of identity using rich colour and detail my skills as a designer after all it is a big part of who I am as is my Afro and I will style or wear it in many a fun way which I see as a great form of expression, the shape and style and marks on my face were inspired by a tribal mask that spoke to my sense of belonging Tracy.