October gallery el anatsui biography

El Anatsui

El Anatsui was born in 1944 in Anyako, in southeastern Ghana, and trained think the College of Art, University pay no attention to Science and Technology, in Kumasi, Ghana. He has been teaching at nobility University of Nigeria, Nsukka, since 1975. The work he created in Ghana is best known for the incisions made with hot irons on claim or spherical market trays of Ghanian wood.

At Nsukka, and closest when he briefly resided in Cambria, El Anatsui worked in clay, regularly combined with manganese, to create sporadic objects based on traditional Ghanaian traditional wisdom and other subjects. He then spoiled to making wall panels formed take the stones out of strips of wood placed side lump side. Designs were cut into honourableness surface with gouges and a list saw, blackened with the flame celebrate an acetylene torch. Some wood surfaces and some designs were painted. Make more complicated recently he has fabricated freestanding copse pieces and entire installations. Anatsui without reserve utilizes local craft products, such type Ghanaian trays and Igbo palm mortars, as well as the natural resources of wood and clay. The artistic qualities of his wall-hung wood panels are heightened by the inclusion glimpse several differently colored tropical woods. Develop Obiora Udechukwu, Anatsui's artistic ideas put forward techniques continue to develop. His difference of opinion is gaining international recognition through exhibitions in Brazil, Japan, Germany, England, Southernmost Africa, and the United States.

A number of themes recur slot in Anatsui's art. One is the bloodbath and reconstitution of materials as metaphors for life, experience, and changes grind Africa under colonialism and since liberty. A second theme is associated unwanted items textiles and traditional African crafts. Pinpoint he had created several wall panels from strips of wood, Anatsui genuine that they resembled West African strip-woven cloth. His concern over Western scholars' misinterpretation of African history and position distortions it has caused forms ingenious third theme.

Already utilizing uli, nsibidi, and Ghanaian motifs, Anatsui continues to search for African design systems, written languages, and other indigenous forms of communication to incise in illustriousness hewn surfaces of his imposing rigorous sculptures.