'Diary of a Victorian Dandy 14:00 hours', Photograph, 1998 (2)

"Poised between two cultures and enjoying every minute of it..."Kobena Mercer

Yinka Shonibare was born and educated in London while spending much of his youth in his parents' country, Nigeria. This duel nationality, or perhaps the feeling of not sitting squarely within either culture, is central to his work. In 1977 he featured in 'Sensation', the seminal exhibition from the Charles Saatchi collection, at the Royal Academy in London. Showcasing the work of a group of young artists who became collectively known as the 'YBA's (young British Artists), 'Sensation' triggered much discussion about the value of art in society at a time when the idea of Britishness was also being widely questioned.

'Feather Pink' (installation detail), acrylic paint on textile, 1997 (4)

"...Something as seemingly innocent as fabric, comes loaded with political, social, historical and cultural metaphors..." Okwui Enwezor

Shonibare's work - which ranges in form from painting and photography to sculpture and installation - has always sought to make visible the cultural influences of colonisation, not just upon those who have been colonised, but also upon the colonisers. He undermines the assumption of a one-way 'civilising' influence, often in playful ways.

DIARY OF A VICTORIAN DANDY
This series of photographs, inspired by the 19th century lifestyle of an elegant young society gentleman, feature Shonibare in various scenes from a day in the life of a fictional 'dandy', surrounded by fawning friends and attendant servants (all played by actors). The resulting images were then created as set of giant posters which were displayed at a number of stations on the London underground for one month, thus reaching a very broad audience and working in interesting juxtaposition to the surrounding advertising hoardings. The Institute of International Visual Arts who curated the work, commissioned a market research company to test public responses to the posters. Most people associated it with an exhibition or theatre production but several also linked it to a museum or stately home. In fact Shonibare draws on all these as well as other, more literary sources. The work is deliberately ambiguous in its form, content and context, using a hybrid of styles and references and blurring the lines between art and commercial photography.

Shonibare's exploration of 'the dandy' makes historical links to figures like the fashion icon Beau Brummel and the writer and famous wit Oscar Wilde. It also reminds us of the current trend for dandyism in Black British culture, from celebrities like boxer Chris Eubank and designer Ozwald Boateng to the sharp street style and fashion codes amongst Black youth. In each case, the dandy is an outsider who is nevertheless admired in society for their unique style and decadence.

DRESSING DOWN
From an early stage in his work, Shonibare has employed the ambiguous materials and motifs of West African textiles. These fabrics seem to symbolise the rich complexity of post-colonial cultures in that, while the patterns and colours are thought to be authentically African, they actually originate from Indonesian Batik work,a technique which was industrialised by Dutch traders. The British adopted these processes, setting up factories in the North of England where Asian workers printed English designs for the West African market. So as Kobena Mercer notes the fabric has a mixed identity "In Africa it has the allure of imported goods, in Europe it evokes exotica." More recently these cloths have been styled and worn by Black British (and African American) people as a visual signifier for a connection with and pride in their African roots.

Shonibare's work examines the contradictions of both contemporary and historical portrayals of Africans living in Britain, a country built on hierarchies of class and race. He has made a series of sculptural pieces, using his trademark African textiles, which take the form of Victorian crinolines and bodices, transforming these usually staid and confining structures into bright, flamboyant sculptures. Many of his pieces have a highly crafted and decorative appearance but at the same time through their translation of materials or juxtaposition of references, provide a critical commentary on the way the orthodox history of art has judged, categorised or completely overlooked other histories, artists and works.

'Mary Beth Regan's Case: Portable Personal Histories' (detail), 1 of 8 glass and aluminium display cases,
Aston Hall Birmingham,1997 (5)

Much of Shonibare's work is about transforming the familiar into new contexts in order to question assumptions or conventions.

• What would you do or make, inspired by this artist's work?

• What do your clothes - their colours, material, style - say about who you are? How would you customise some elements to help you stand out from the crowd? Where would you situate yourself for maximum effect?

• Could you curate (select and design) your own 'Portable Personal Histories Museum', made from items which say something about you or a member of your family? Is there a public display area in your school, college or community where these could go on show?

You can find more information on the artist and related references through the following Web links:

Citibank Photography Prize Norwich Art Gallery Johannesburg Biennale 1997