Patterns by Mwaba Chandia

Patterns by Mwaba Chandia, 2020. Acrylic, lucky beans & clear overlay on canvas. 24 x 24 inches 

About the work: Patterns is an exploration of the black female form as well as the expression of my Zambian culture. Much of my work is inspired by African textiles and the vibrant patterns they consist of. In my art practice, circles are symbolic of life and death (beginning & end) and the non-stop repetition and intertwining of the two. This notion is also reflected through the intricacy of the braids which are another important part of my culture and much of the black diaspora. Keeping the idea of the cycle of life in mind, it is important that I include the female form in this conversation for her essential role in the creation of life. These ideas are meant to challenge and begin a discourse on learning and unlearning the ways in which society views the black female form.

Mwaba Marie Chandia is a 24 year old Zambian-Canadian woman born and raised in Zambia by two visual artists. Growing up in Zambia has had a huge impact on her art and identity. She draws inspiration from the rich colors and patterns of traditional textiles and fabrics found all around her city, Lusaka. Much of her identity is tied to Zambia and identity is a strong theme she explores in her work. The current body of her work is an exploration of the black female form and the expression of her Zambian heritage. Her work is inspired by African textiles and the vibrant patterns and the use of certain reoccurring symbols that are central to her works: circles, which are symbolic of life and death (beginning and end) and the non-stop repetition and intertwining of the two. Her work shows the intricacy of the hairstyles and floral clusters and significantly focuses on traditional protective hairstyles as a vital part of her culture and much of the black diaspora. Keeping the idea of the cycle of life in mind, she includes the female form in this conversation because of its essential role in the creation of life. These ideas are meant to challenge and begin a discourse on learning and unlearning the ways in which society views the black female form. Her choice to remove certain facial features like eyes is meant to deconstruct the viewer’s idea of formal portraiture as a depiction of the human figure and an attempt to hint at an underlying theme which is essentially a critique on western art institutes and their display of cultural objects and art.