Njideka Akunyili Crosby: Negotiating new realities through art

Nwantinti by Njideka Akunyili Crosby

Njideka Akunyili Crosby is emblematic of the postcolonial diasporean experience as illustrated via the most advanced form of man's civilization: art. She leads a crop of young, talented and socioculturally aware Africans in the art sphere such as Wangechi Mutu, Kehinde Wiley, Toyin Odutola Ojih etc in the expression of the new, negotiated realities of the African. These new realities are within the context of the morphing face of globalisation and the emergent role of the African narrative in it. 

This is apparent in her analysis of herself as being torn continually between her native sociocultural experiences and those she experiences in the country she resides in - the United States of America. She is married to a Caucasian American and this raises a world of questions which she probably never knew were there. In Africa, we see tribes and specific cultural affiliations; in the diaspora, we are forced to see colour for what it unfortunately is - a tool for social stratification. Njideka, like other African artists in the diaspora, whether pre- or post-colonial, had to be confronted by the issue of colour and the far reaching consequences and influences it has had on the global question.

Something split and new by Njideka Akunyili Crosby

The beautiful thing about her artistic production is that she presents her evolving ideas and perceptions in richly layered works of art which are worthy of commercial and sociological success. The latter is evident in the renewed interest in the engagement of the rest of the world with art out of the African continent. Of course this interest has always been around; what's different is the basis on which that interest is pursued.

Rebranding my love by Njideka Akunyili Crosby

Njideka employs the use of photographic references from her native Nigeria which are visual documents from everyday life in the country. These record street and family life as the artist knows - or knew - it. In addition, she fuses in items from western art, images of her husband in different role plays and subject matters in conjunction with her, drawings, paintings, prints, fabrics and collage, and all of these help to provide a strong sociological commentary on the cross-cultural discourse, from her own unique perspective (which incidentally, isn't extremely unique but a mirroring of the realities of many diasporic Africans and peoples). 

I always face you, even when you don't by Njideka Akunyili Crosby

It is important to also note the fact that her art is the most commercially acclaimed of those produced by African artists in the post colonial diaspora. Not only that, but also the fact that when compared with art from other artists and parts of the world, the value placed on her works of contemporary reality pale beside those of the former. That, in my opinion, has some interesting consequences for art of African ensemble. That is a story for some other time...

Portals by Njideka Akunyili Crosby

However, we should be more interested in the import and influence of her works. Here's what she has to say about her work and reality:

"Nigeria is almost a third character in my work. A lot of my work is about investigating my love for Nigeria and my life in America. Ia met my husband at college and there was some anxiety that if I married outside my culture I would lose my identity, but there is a space in my work where these things come together.”

There, a negotiation of diverse realities. That's what her life work is about in a nutshell, and it is interesting to have these vibrant ideas from her finding their way into the documentation of contemporary reality, and by extension, tomorrow's history and the redefined African narrative.