Entering an exhibition of El Anatsui’s work at the Fowler Museum in Los Angeles, my eyes and spirit adjust to the dimmed lights and inviting quiet. Slowly, I begin to take in shimmering curtains of color that shift and glow in layers of rich texture.
The change in atmosphere feels almost magical, so it comes as no surprise to learn that in Africa, where Anatsui is from, artists are often seen as mediators of supernatural energies.
Magic or not, Anatsui’s laborious creative process effects a powerful transformation; despite a luxurious appearance, these wall hangings and standing sculptures are made from trash.
When goods are shipped to Africa from other areas of the world, the means to recycle the packaging materials locally are limited, and so boxes, tins, bottles, and cans accumulate in large piles. A strong believer in making art with what’s available rather than using store-bought materials, Anatsui collects the detritus and uses it for his art.
Skin of the Earth (2006), an expanse of glimmering gold punctuated with bright red and blue, is made
from thousands of aluminum caps from liquor bottles, the consumption of which has drastically increased since Africa was colonized by European powers.
Each cap is carefully flattened, and the small pieces are attached in small sections using a process that recalls the tradition of weaving kente cloth. A series of silvery cones that curiously resembles a Dr. Seuss landscape, Peak Project (1999) is made from the circular tops of discarded milk tins.
Originally from Ghana, Anatsui came to Nigeria in 1975 and has lived and worked there ever since. As a teacher at the University of Nigeria, he has influenced a generation of young artists and is recognized as one of Africa’s foremost artists. In recent years, his evocative and thought-provoking work has also gained the well-deserved attention of the contemporary art world.
— Annie Buckley
>> El Anatsui: elanatsui.com
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