Gerard Quenum, (Beninese, born 1971)
Initiation 146 x 20 x 20cm (57 1/2 x 7 7/8 x 7 7/8in) including base.
Initiation
wood, metal and doll parts
146 x 20 x 20cm (57 1/2 x 7 7/8 x 7 7/8in) including base.
Provenance
Acquired from October Gallery, London, in 2008.
A private collection, UK.
Quenum's aesthetic is characterised by his use of 'urban detritus', discarded objects that he finds on the streets around his studio. His sculptures are frequently constructed from bits of bone, wood and plastic. He also incorporates objects associated with Beninese traditions including mortars, drums and staffs. Quenum is interested in the way the original functions of these objects continue to inform his assemblages. The ritual elements lend the sculptures a spiritual quality. The artist claims he is paying his respects to ancestral customs.
The grandson of a priestess, Quenum describes how deeply his grandmother's practices have influenced his artistic approach. In this tradition, "objects must be very precisely placed to interact with their environment so as to create a special ambience".
The artist first began to incorporate plastic dolls into his sculpture in the late 1990s. Whilst walking one day, he happened across a plastic doll abandoned by the roadside. Such toys frequently find their way to Benin as part of overseas aid packages. The doll was soaked through, and Quenum took it back to his studio and nailed it to a wooden post to dry. Over the next few days, he was struck by the strength of emotion the doll aroused in his visitors, but also in himself:
"The face of each doll inspires me, almost as if the doll were telling me its story, and my job is to understand and then to surround it with whatever props are necessary to render that story visible...I'm prompted to give these foundlings a safe place from where they can recount the stories of the things they have been."
The doll series deals with themes of abandonment and human suffering, but the artist maintains it is fundamentally positive. The incongruous juxtaposition of the doll's head with the roughly carved wooden post lends the sculpture a humorous, even mischievous quality. Quenum reminds the viewer that even in the gloomiest circumstances, there are "moments of illumination".
Quenum held his first solo exhibition in Cotonou, Benin in 1998. Since then his works have been shown in Paris, London and Brazil. In 2012 he exhibited a series of assemblages entitled Dolls Never Die at the October Gallery in London.
Bibliography
G. Houghton, Gerard Quenum: Dolls Never Die, (London, 2012) pp.2-10.
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Initiation 146 x 20 x 20cm (57 1/2 x 7 7/8 x 7 7/8in) including base.
Initiation
wood, metal and doll parts
146 x 20 x 20cm (57 1/2 x 7 7/8 x 7 7/8in) including base.
Provenance
Acquired from October Gallery, London, in 2008.
A private collection, UK.
Quenum's aesthetic is characterised by his use of 'urban detritus', discarded objects that he finds on the streets around his studio. His sculptures are frequently constructed from bits of bone, wood and plastic. He also incorporates objects associated with Beninese traditions including mortars, drums and staffs. Quenum is interested in the way the original functions of these objects continue to inform his assemblages. The ritual elements lend the sculptures a spiritual quality. The artist claims he is paying his respects to ancestral customs.
The grandson of a priestess, Quenum describes how deeply his grandmother's practices have influenced his artistic approach. In this tradition, "objects must be very precisely placed to interact with their environment so as to create a special ambience".
The artist first began to incorporate plastic dolls into his sculpture in the late 1990s. Whilst walking one day, he happened across a plastic doll abandoned by the roadside. Such toys frequently find their way to Benin as part of overseas aid packages. The doll was soaked through, and Quenum took it back to his studio and nailed it to a wooden post to dry. Over the next few days, he was struck by the strength of emotion the doll aroused in his visitors, but also in himself:
"The face of each doll inspires me, almost as if the doll were telling me its story, and my job is to understand and then to surround it with whatever props are necessary to render that story visible...I'm prompted to give these foundlings a safe place from where they can recount the stories of the things they have been."
The doll series deals with themes of abandonment and human suffering, but the artist maintains it is fundamentally positive. The incongruous juxtaposition of the doll's head with the roughly carved wooden post lends the sculpture a humorous, even mischievous quality. Quenum reminds the viewer that even in the gloomiest circumstances, there are "moments of illumination".
Quenum held his first solo exhibition in Cotonou, Benin in 1998. Since then his works have been shown in Paris, London and Brazil. In 2012 he exhibited a series of assemblages entitled Dolls Never Die at the October Gallery in London.
Bibliography
G. Houghton, Gerard Quenum: Dolls Never Die, (London, 2012) pp.2-10.
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Time, Location
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