Lynette Yiadom-Boakye. Nul crépuscule n’est trop puissant

Lynette Yiadom-Boakye. Nul crépuscule n’est trop puissant : Lynette Yiadom-Boakye  Recueillir les oints (Harbour The Anointed), 2020 Huile sur lin 100 x 75 x 3,6 cm Courtoisie de l’artiste, Corvi-Mora, Londres, et Jack Shainman Gallery, New York © Lynette Yiadom-Boakye, Bilbao 2023    Lynette Yiadom-Boakye. Nul crépuscule n’est trop puissant : Lynette Yiadom-Boakye  Labyrinthe (Maze), 2021 Huile sur toile 90 x 80 x 3,6 cm Courtoisie de l’artiste, Corvi-Mora, Londres, et Jack Shainman Gallery, New York © Lynette Yiadom-Boakye, Bilbao 2023    Lynette Yiadom-Boakye. Nul crépuscule n’est trop puissant : Lynette Yiadom-Boakye  Repos divin (Divine Repose), 2021 Huile sur lin 90 x 85 x 3,6 cm Courtoisie de l’artiste, Corvi-Mora, Londres, et Jack Shainman Gallery, New York © Lynette Yiadom-Boakye, Bilbao 2023    Lynette Yiadom-Boakye. Nul crépuscule n’est trop puissant : Lynette Yiadom-Boakye  Ambassadoria, 2022 Fusain sur toile  56 x 76 cm Courtoisie de l’artiste, Corvi-Mora, Londres, et Jack Shainman Gallery, New York © Lynette Yiadom-Boakye, Bilbao 2023   


The exhibition


Lynette Yiadom-Boakye's truer-than-real painting was revealed to the world when it was exhibited in two installments - in 2020 and 2022 - at the Tate in her hometown of London, but it was when she took on El Anatsui's metal hangings and the photographic portraits of her country's pioneer painter Felicia Abban in the first Ghana Pavilion of the 2019 Venice Biennale. For all that, her fictional portraits-which she calls "suggestions of people"-are also the ones by which her exclusively black subjects have made their way into the very white history of Western painting. Claiming the influence of the suggestive manner of Manet or Degas as much as the power of the imagination, Lynette Yiadom-Boakye shows in Bilbao some 70 recent works in which the evidence of the figures seems to have been stolen from the night, including some twenty charcoal and chalk paintings whose lighter formats were blown away by the confinement.

Extract from the article by Tom Laurent published in the N°106 of the magazine Art Absolument. Publication date: May 17, 2023.

When


31/03/2023 - 10/09/2023
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