Symbols of power
Installation, Political / Social, Human figure, Sacred / Mythological, Various materials, 82x173x94cm
The ideas that have inspired my work are objective in nature. They reiterate the powers of local foundations and subjectivity, but not necessarily restricted views. The challenges I faced arose from the drama surrounding the obscured gender battle prevalent in the developing world. My intentions are to make art as an instrument for the transformation and reexamination of the society where I live.
The winged 'VICTORY OF SAMOTHRACE' (Ancient Greek collection, The Louvre, Paris) inspired me to rethink freedom and power. While scholars have been unable to accurately determine what she held in her hands and facial espression, I thought I could depict a victorious woman. With celestial colours, I tried to accentuate her freedom. Beginning from the right wing across her chest, I wrote the twitter hashtag: '#bringbackourgirls'. I have realized that the safety of every educated person (beginning with women) is at risk. The notorious Boko haram group (meaning 'Western Education is Sin') are on a drive to eliminate educated people. Having succeeded in kidnapping more than 350 schoolgirls in 2014 alone and killing thousands more people in 5 years of attacks, the government wants to negotiate. Reaching an agreement in this way sends a message of the terrorists being right in some way- killing people who do not believe in their own ideology. They usually start with women and children to show physical strength and create fear. Over time the woman’s consequent confinement as a result of her quest for education (represented by the book in the left hand) is orchestrated.
Symbols of power' is a mechanism of the ultramodern struggle; it may also turn out to be a fault line in the rules governing the social system as a whole. If the woman is qualified, I think society should give her a job, either by voting or by appointment. The work aims to ask tough and open questions concerning gender placement. In how many countries can a woman become a leading figure in business or society without a special debate that aims to give her a chance? Who sets the quota system between the sexes? Should there be a reservation or a zoning system for women in public office?
How did the mace (symbol of power) get into her right hand? Could it be her education that empowers her? Is the woman owned, or does she have a partner? Is a facial mask an issue of privacy, or oppression against women? Can the world outside hear her voice, or is the face cover a hindrance? Can you tell anyone’s education levels until there is an inner release? What roles can education play in fulfilling our innate desires? I thought that only children are emotionaly immature to make independent decisions, but why the age long expression: ‘women and children’? These and many more questions seek answers. In the quest for sustainable development, we have to support a unified effort to stop gender inequality.
The winged 'VICTORY OF SAMOTHRACE' (Ancient Greek collection, The Louvre, Paris) inspired me to rethink freedom and power. While scholars have been unable to accurately determine what she held in her hands and facial espression, I thought I could depict a victorious woman. With celestial colours, I tried to accentuate her freedom. Beginning from the right wing across her chest, I wrote the twitter hashtag: '#bringbackourgirls'. I have realized that the safety of every educated person (beginning with women) is at risk. The notorious Boko haram group (meaning 'Western Education is Sin') are on a drive to eliminate educated people. Having succeeded in kidnapping more than 350 schoolgirls in 2014 alone and killing thousands more people in 5 years of attacks, the government wants to negotiate. Reaching an agreement in this way sends a message of the terrorists being right in some way- killing people who do not believe in their own ideology. They usually start with women and children to show physical strength and create fear. Over time the woman’s consequent confinement as a result of her quest for education (represented by the book in the left hand) is orchestrated.
Symbols of power' is a mechanism of the ultramodern struggle; it may also turn out to be a fault line in the rules governing the social system as a whole. If the woman is qualified, I think society should give her a job, either by voting or by appointment. The work aims to ask tough and open questions concerning gender placement. In how many countries can a woman become a leading figure in business or society without a special debate that aims to give her a chance? Who sets the quota system between the sexes? Should there be a reservation or a zoning system for women in public office?
How did the mace (symbol of power) get into her right hand? Could it be her education that empowers her? Is the woman owned, or does she have a partner? Is a facial mask an issue of privacy, or oppression against women? Can the world outside hear her voice, or is the face cover a hindrance? Can you tell anyone’s education levels until there is an inner release? What roles can education play in fulfilling our innate desires? I thought that only children are emotionaly immature to make independent decisions, but why the age long expression: ‘women and children’? These and many more questions seek answers. In the quest for sustainable development, we have to support a unified effort to stop gender inequality.
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