Sol’Sain’t: Sol’Sax on the use of mannequins in his solo exhibition

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The thing that comes to my mind is there’s are so many mannequins. For me, it’s been really interesting to deal with the mannequins because my whole thing is that we are not many kin we are one kin, a free kin born from an African human tradition. So I don’t care how European you are, humanity itself is African.  Mannequins supposedly have blank features, but somehow they have very European sensibility. I’m looking at this idea of what we think of as a blank human and why is a blank human being white?

 

All of my work revolves around the Orisha and African American icons that reverberate that I synchronize with Orisha. So when I go into the warehouse, I’m looking for objects that I already know are going to say certain things. For instances I already had a Duke Ellington where I had taken an image of a Dan mask and put a top hat on it, now here I’m going to have this Dan mask with the top hat and I found it all here at Materials for the Arts even though I already knew I wanted a Dan mask and I wanted a top hat, it just showed up.

 

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Education is primarily the point of what I’m doing. Everyone knows who Hercules is very few people know who Oshun is and by introducing them to Josephine Baker I’m not only able to talk about Oshun but teach them that history may not repeat itself, but it certainly does rhyme. Historical figures use tactics that may be helpful to you right now, right here because they were helpful a generation ago.

 

Join us for the opening reception of Sol’Sax solo exhibition Sol’Sain’t Many Kin: All Sol’Skin Is A Free Kin on Thursday, January 18 featuring musical performances by Sol’Sax and Bad Hombres.