Art in all different forms is a universal language. It reaches across borders and connects diverse cultures. Great art stimulates the imagination and makes one stop, think, and reflect. Art has a vital role in society as it expresses the emotions, struggles and inspires people to overcome their challenges. While different art types can have different meanings and topics, all art says something that one may not convey or express. Comparing different art allows one to think critically about their themes, formal qualities, and purpose. The artworks “Wind” by Yinka Shonibare and “Preying Mantra” by Wangechi Mutu have similar themes of culture, patterns, and history but have differences in the symbols of migration and women, formal qualities, and purpose.
Similarities
“Wind” and “Preying Mantra” have a common theme of culture in their patterns. “Wind” incorporates Ductch wax fabrics materials that have a strong cultural influence. The textile pattern was manufactured in the Netherlands for the Indonesian market but became highly popular in West Africa (Holmes, 2018). The art thus describes the African culture and seeks to showcase the modern culture of migration. “Preying Mantra” also features a pattern where a female reclines on a patterned blanket. The blanket features the Kuba culture as it resembles a traditional fabric created by the Kuba people. The designs in both types of art have a strong African cultural influence.
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The two arts are also similar as they reflect on African history. “Wind” reflects the history of textile companies in the Netherlands that sold their products in West Africa. The products became very popular in West Africa that many people believed that they originated there. “Preying Mantra” showcases the history of African colonialism. Colonialism began in the nineteenth century when European nations took power from Africans with strict administrative and military controls. The art describes the mixture of colonial and colonized cultures to create a new cultural identity. Therefore, the two types of art tell a story about African history; one tells about African trade and migration while the other tells about colonization.
Differences
One main difference between the two artworks is in the formal qualities with different purposes. “Wind” is a sculpture, while the “Preying Mantra” is a painting. The “Wind” sculpture was created in 2018 and is located in a public space. “Preying Mantra” was painted in 2006 form is a mixed media on mylar painting. The difference in formal qualities means that the two arts have different purposes. “Wind” is located in public places where everyone in the public realm sees it and appreciates it. On the other hand, “Preying Mantra” is a painting that can be located in a museum to be especially appreciated by those that love art.
“Wind” features a symbolic significance of migration, while “Preying Mantra” symbolizes African women. “Wind” is a powerful metaphor for migration, global trade, and interconnectivity. The pattern shows a history of migration in the previous century and appreciates the multi-cultured nature of the modern world. On the other hand, “Preying Mantra” symbolizes the stereotypes of African women. The title is from the praying mantis, a carnivorous creature that can eat its submissive mate. The imagery shows the African female body that is considered dangerous, sexual, and somewhat deformed compared to the Western standards (Harris, 2015). “Wind” and “Preying Mantra” are thus different as they feature diverse symbols and imagery.
Conclusion
The artworks “Wind” by Yinka Shonibare and “Preying Mantra” by Wangechi Mutu have multiple similarities and differences. Culture and the history of colonization is a recurrent theme in both types of art. However, “Wind” focuses on migration, while “Preying Mantra” focuses on African women's stereotypes. The two kinds of art provide an understanding of the themes that influence modern art.
References
Harris, L. S. (2015). "Wangechi Mutu, Preying Mantra ." Smarthistory , https://smarthistory.org/wangechi-mutu-preying-mantra/
Holmes, J. (2018). “I’m the opposite of Donald Trump”: Yinka Shonibare MBE on his new public sculpture in NYC. Hyperallergic . https://hyperallergic.com/434690/yinka-shonibare-interview-public-art-fund-nyc-sculpture/
