Cabinet of Curiousities by Mwaba Marie Chandia

Cabinet of Curiousities by Mwaba Marie Chandia, 2020. Acrylic on canvas, 24 x 24 inches.

About the work: This work is part of a series which sets to explore a wide range of ideas. However, my main focus is on the notion of displaying black bodies as objects historically and in present day. Thinking of the ways in which we both view and display the black form today in fashion, on social media etc, on a global scale and comparing that to the way this was done in the past through a classic portraiture type display is an important aspect of the series. Merging portraiture with botanical specimens deconstructs the viewers idea of formal portraiture while hinting at the underlying theme which is essentially a critique on western art institutes and their display of cultural objects/art.

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.