Engy Ghattas

03/04/2020

Uprooted: Adebunmi Gbadebo Artist Reception

The artist's decision was to utilize hair, cotton, blue shading and more hair to put on a grandstand of her predecessors from once upon a time when subjugation existed. 

His work began out of a rejection of traditional art materials because of their association with Whiteness. Art history teaches us that the masters, the best to have ever used paint or those worthy enough to be painted, were white men. Not only did I reject that narrative and its materials, but I also went on to find a material and a history in which to root my own work that positions the people who looked like me as central to my practice.

His material is human hair from people of the African Diaspora. Our hair is so connected to our culture, politics, and history!  It is history and DNA. The process of working with hair has allowed me to utilize my community as an integral part of my studio practice. Local barbershops and people’s homes have become my art store. His community helps me create every artwork! Strangers trust me to give a new purpose to their hair. Thus, with honor, the first piece I made was Dada. Twenty feet of locks sprawled up a wall, literally and metaphorically, forces the viewer to look up to black hair. I have sewn hair to canvas and I hand sew most of my work. The needle replaces my brush and instantly, the process became more involved allowing me to pierce through surfaces to insert “nappy” hair. The needle also slows the process and reflects that of a hairdresser or a mother working on her child’s head that rests in between her thighs. I am looking for ways to integrate genealogies of the diaspora with critical discourse through my use of hair!

I have drawn this picture because this represents my family member. We all have different feelings, and we express different emotions. I have chosen this picture because it helps you to practice self-healing for free and it explains sometimes, we are happy, sad, and stress in our daily life.