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'OLAUDAH EQUIANO Middle Passage' Sculpture
United Kingdom
Sculpture, Fabric on Canvas
Size: 240 W x 180 H x 9 D in
About The Artwork
Canvas weight bags, webbing, steel rings, tape, clear sheeting The Brookes monochrome diagram has become symbolic for the Atlantic slave trade passages, in particular the horrendous Middle Passage. https://en.wikipedia.org/wiki/Brookes_%28ship%29 The sculpture reconfigures it in bags used for weights referencing the steel ballast used on slave ships, known to counterbalance the weight of human cargo. The steel rings a symbol of shackles. The black webbing reminds of physical restraint. Together reminds of the confines of a straightjacket. The central slogan ‘Am I Not A Man And A Brother’ was used widespread by abolitionists. The Middle Passage was the stage of the triangular trade in which millions of Africans were shipped to the New World as part of the Atlantic slave trade. Ships departed Europe for African markets with manufactured goods, which were traded for purchased or kidnapped Africans, who were transported across the Atlantic as slaves; the slaves were then sold or traded for raw materials, which would be transported back to Europe to complete the voyage. Voyages on the Middle Passage were large financial undertakings, generally organized by companies or groups of investors rather than individuals. The "Middle Passage" was considered a time of in-betweeness for those being traded from Africa to America. The total number of African deaths directly attributable to the Middle Passage voyage is estimated at up to two million; a broader look at African deaths directly attributable to the institution of slavery from 1500 to 1900 suggests up to four million African deaths. While treatment of slaves on the passage was varied, slaves' treatment was often horrific because the captured African men and women were considered less than human; they were "cargo", or "goods", and treated as such; they were transported for marketing.
Details & Dimensions
Sculpture:Fabric on Canvas
Original:One-of-a-kind Artwork
Size:240 W x 180 H x 9 D in
Frame:Not Framed
Ready to Hang:No
Shipping & Returns
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United Kingdom
SCULPTOR. Born in the UK. Lived in London, New Zealand, Australia, Paris, New York. Backpacked round the world. Christy Symington MRBS studied traditional figure sculpture and drawing techniques in Paris at Les Ateliers Beaux-Arts Montparnasse and Glaciere, Ecole Superieure des Arts Appliques Duperre and L'ecole Nationale Superieure des Beaux-Arts. This was preceded by a year of life figure/portrait modelling and sculpture techniques at Kensington and Chelsea College. She graduated from the New York Studio School with Merit Award for Sculpture spending 4 years in the USA [was the selected sculpture student to exchange to the Slade School of Art, London]. She took an MA in Fine Art at Byam Shaw [Central St Martins], University of the Arts London. With a PGCE Postgraduate Certificate in Education she teaches and mentors in several UK art colleges and schools. Christy is a Member of the Royal British Society of Sculptors since 2002 and Board Member from 2003-2007. She exhibits in the UK and internationally. How humans impact on the natural world and the interaction that each has with the other deeply underlies 3 areas of interest: FIGURES & PORTRAITS, TIGERS and ABSTRACT Sculpture and Drawings. Inspiration from the manner of process with a range of materials and altering traditional techniques is continually evolving alongside continuous research. Born in the Year of the Tiger and concerned for its survival. I am working on a body of work about the TIGER reflecting its beauty and threats that may mean it could be extinct in less than 20 years. I am a sculptor and tutor based in London. Interests in other cultural references, the effect of man on its environment and the cycle of life. My PORTRAIT SCULPTURES and FIGURES raise awareness of people whose achievements are substantial, but not widely known, to bring life to their story. These are often 'people of colour'. My ABSTRACT work envelops the ad-hockery of materials. Sensual impressions, textural scars and added remnants offer memories of that now absent. Growth, as well as decay, reveal the evidence of the cycle of life. Primal connections between peoples and their environments, both natural and urban, are linked by cultural beliefs and basic needs. Knowledge of the figure is blended into my abstract work and as time goes on, knowledge gained from the process of materials in the abstract work feeds into my portraiture and figurative sculpture. I exhibit and teach regularly.
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