My Friend Stary

My friend Stary is going to be famous. All you have to do is look at his work and the question becomes, 'Why have I never heard of this artist before?' Stary Mwaba: remember the name, you will not forget his work.

His paintings, within the cultural context of Zambia, his home, take great risks in their concepts and themes and yet his technique is so accessible, in other words he challenges the viewer without alienating them.

One of my favourites is entitled 'I am not Your Stereotype' (above). At first glance it may seem like a beautifully executed picture of a girl sitting, half-lounging (a common stance for Stary's subjects) surrounded by abstract, almost human forms. But let's look a little closer. First of all, see her hair, slightly golden brown in colour – unteased and natural. Then, let's look at the thigh and the back that are exposed, with the light glinting off them, wrapped casually in a chitenge – a Zambian cloth that women wear traditionally for modesty or to protect their clothes from dirt. In Zambian culture it is taboo for a woman to reveal these areas of her body, and yet here they are on display. Move now to the face and note the look of lazy defiance. She is beautiful, she is African and she is not afraid.
Stary's painting 'Baby' (below) was not well received in South Africa. The depiction of a black girl holding a white doll was seen as inappropriate, as if the addition of a white doll was an oversight, a mistake. That girl holding a doll, has a great deal of power in my opinion. The doll has no clothes apart from socks, whereas the girl is fully clothed. This touch subverts the nature of the poor African girl running around in rags – it is the white doll that is naked.

His marriage of technical skill, abstract exploration and genuine affection for his subjects in his paintings make your mouth water. If it is possible to be gently controversial, Stary Mwaba has achieved it.

I believe this is just the beginning for Stary, his work is becoming more experimental as he grows as an artist. In September, not only will he exhibit in Lusaka, but also fly to New York to take part in a residency at the Watermill, Brooklyn. For more on his work you can visit his website: http://starymwaba.webs.com/ or contact me directly.

A Tale of Two Tates - notes from my Notebook

Back to London for visa and to see husband off to Zambia. Out of laziness opted for Tates to visit.

I've always like the idea of Tate Modern, impressive building, great to see it being used again (what plans for Battersea?). Important to have a truly iconic modern art gallery in London. But Tate Modern is disappointing.

Why?

Dreary interior - grey, dark, little natural light.

Huge but poorly utilised space, massive walkways, reception areas, huge shop (of course) but little art in comparison. A floor for members only? Hmm.

Ok, building is great but does it really make good gallery? To appreciate it is to appreciate industrial design, wasn't built as a gallery unlike Guggenheims and other Tates (note to all and self - visit St. Ives!).

Didn't go to exhibitions had to pay for (doesn't tell you anywhere how much costs until you get to the floor they are on, then you have to go back to buy tickets, no thanks), just meandered. Anne Lee exhibition 'No Ghost Just a Shell' - big raspberry, trite, vapid - sometimes bad idea to let artists write, some truly awfully scripted video installations.

Pop Art room a nice find, Andy Warhols - pretty exciting to see in real life, 3 Way Plug by Claes Oldenburg a revelation - texturial, erotic, funny and overwhelming. Huge plug made from mahogany wood, hanging majestically in the space but gallery a bit pokey.

Tate Modern = tiring - no proper seats, just those weird stools that are so awkward, overcrowded

= cold!

Still love it for its flaws however, better if it tried to be less apologetic for being an art gallery and toned down the theme park aspect.

Tate Britain - now that's better.

Big spacious rooms, beautiful construction.

Places to sit!

Light!

Fascinating narrative of art through the ages in Britain. Great exhibition - 'Beating the Bounds', great work by Frank Auerbach - paint as sculpture, brilliant video installation Helen Appel, funny moving. Nice to see some Gilbert and George - have we forgotten about them?

Verdict: Tate Modern like a gritty communal shower

Tate Britain - a warm bath in a porcelain, private suite

Walking in My Mind for the last time

This is the last week for the successful 'Walking in My Mind' exhibition at the Hayward Gallery on London's South Bank, a kind of journey into the consciousness of various exceptional modern artists. I visited the exhibition a while back and found it to be a mixed bag, as you might expect. I enjoyed the theme parkey feel to the exhibition, particularly with the works by Thomas Hischhorn's cave and Yoyoi Kusama's polka dot installation. For the most part it was an exciting and unsettling experience and was no less enjoyable for that.

I would have to say that my stand out memory was of my friend Tracey and I out on the roof of the Hayward overlooking the city as the sun went down surrounded by Kusama's polka dots. People, mainly couples, were lounging on the astro turf and I was profoundly touched at how peaceful the scene was considering Kusama's reasons for using polka dots in her work.

It is no great secret that Yoyoi Kusama started to see dots as a child and for her represent salvation and probably also sadness, for she had a very unhappy childhood. That Kusama was able to use this disturbing psychological problem as an outlet for creativity is remarkable. A great gift for us all.

I also loved the fact the gallery is open late on a Friday, there is something very special about going to a gallery in the evening and wish more galleries did this.

LINK ATTACK:
Walking in My Mind
Interview with Yoyoi Kusama