“When I last wrote to you about Africa,” an exhibit by Ghanian artist El Anatsui is showing at the Royal Ontario Museum until Feb. 27, 2011. The collection is a career retrospective, showing different mediums and techniques used by the world-renowned artist over the years.
While fashion is often inspired by works of art, many pieces in Anatsui’s collection were inspired by textiles and clothing. The “Wonder Masquerade,” a wood sculpture from 1990, was designed to look like an actual masquerade costume. The Winneba masquerade (otherwise known as the Fancy Dress masquerade) is a tradition of the Fante people in Ghana; males dress up, don masks and perform at Easter, Christmas and the New Year.
Anatsui uses colour, form and pattern to evoke themes in African history. Adinkra, traditional symbols of the Akan people, appear throughout his work. In the neighbouring exhibit, “Riotous Colour, Daring Patterns: Fashion and textiles, 18th-21st centuries,” I learned the adinkra symbols have historical, allegorical or magical meaning. They also appear in handmade ceremonial cloth. One of Ghana’s premiere fashion designers, Kofi Ansah, has also used the symbols in his designs.
Though Anatsui created these pieces over the last 40 years, using several different mediums, there is still cohesion between his pieces. He has signature colours: green, orange and blue appear in his paintings as well as his metal pieces. There are also similar shapes and patterns throughout. Much a fashion designer, Anatsui has his signature touches throughout his life’s work.

Liquor bottle caps in metal tapestry (Flickr)
One of my favourite pieces is “Open(ing) Market,” a collection of painted tin boxes with product labels inside. This installation demonstrates the emergence of local and global African markets. Anatsui’s art speaks to historical issues. The use of nails in a series of wooden sculptures symbolizes the use of guns during the Danish slave trade. In his metal tapestries, the use of bottle tops from liquor, is symbolic of the commodity brought to trade when colonial powers came to Africa.
Anatusi’s work is both beautiful and compelling. The underlying historical narrative in his pieces and the use of traditional symbols drew me to the collection, as I am working in Ghana this summer. He uses found objects; altered to fit in with a piece. The metal tapestries have an architectural structure; the waves like a tapestry moving with a breeze, drawing the eye into blocks of colour or patterns.
After closing at the ROM, “When I last wrote to you about Africa,” moves to the Davis Museum at Wellesley College. The Toronto showing is the world premiere of the exhibition.
(This is a repost of an assignment from my fashion journalism class.)

