New York’s art lovers gathered in Harlem last week for the latest installment of 1-54. This year, the celebrated art fair returned to the city after a two-year hiatus with works from the world's most exciting African and diasporic artists and a new wave of fanfare. The event took place inside Harlem Parish, one of the historically Black neighborhood's celebrated neo-Gothic landmarks, with 25 galleries showcasing works that invited discussion about the global pandemic and the political and social movements that are shaping the world.

It helps to understand that 1-54 isn't just another contemporary art fair. The event makes stops in London, New York, Marrakech, and Paris and pays homage to the 54 countries that make up Africa. Since its inception in 2013, it has gained a reputation as a critical destination for understanding the future of African art. Of the many artists who participated this year, Nairobi-based photographer Thandiwe Muriu at 193 Gallery and Paris-based King Houndekpinkouat 50 Goldborne Gallery drew considerable attention. Muriu's work stood out for its experimental approach to bright colour and African beauty standards. Meanwhile, King Houndekpinkou's ceramics dazzled with futuristic shapes and Japanese influences.

As a 1-54 media partner, Nataal sat down with the artists to discuss the importance of the stories behind their work.

Thandiwe Muriu at 193 Gallery

Please tell me about the work you exhibited at 1-54?

It was a personal project that I did to affirm things I've struggled with in my beauty journey. The series is about women disappearing while maintaining a strong presence. The models have very self-assured poses, dark skin, and short hair – a comment on how I felt growing up in a conservative culture that taught me you needed to have long hair and bleached skin to be beautiful. I hope that young girls see women who look like them celebrated through my work.

You call this series a personal project. How does it differ from your professional work?

I have a commercial photography background. When I began my career, I thought I'd shoot unique sets and create dream worlds but I quickly realised I was capturing someone else's vision. This series was my attempt to fall back in love with photography.

What inspires your work?

The women I see walking down the street exuding confidence. I see these women and wonder, do they genuinely feel confident? Are they faking it? It struck me that the women who stuck out to me most were the ones who embrace their bodies. They don't fight against themselves.

Talk me through your creative process.

There is no Photoshop. The backgrounds are created by hand, I make the clothes and accessories, and we capture them in a single image. It all starts with the print. I'm drawn to ankara fabrics with geometric shapes and modern patterns representing the ‘new Africa,’ a movement I consider myself part of. For example, in the image with the circular prints I have outfits and styling that reinforce circular movement. The accessories are made from everyday objects in Kenyan homes: a bent coat hanger, sink strainers and hair rollers.

What does it mean to be a part of the new Africa’?

I don't interact with my culture as my grandparents would but I’m still firmly rooted in my culture. I'm more comfortable speaking English than in another language, I mix western suits with African clothing. The new Africa draws from all corners of the globe.

King Houndekpinkouat at 50 Goldborne Gallery

What's the significance of showing your work at 1-54?

I've shown my work in New York before but never in Harlem. Being in a neighborhood steeped in Black and African history is symbolic. It's not lost on me that we're also in a church. My collection includes pieces I've created over the last ten years and reflects my spiritual evolution.

How does this collection reflect how you've changed as an artist over the past decade?

Ten years ago, I was just learning how to express myself. Now, I have more xperience with ceramics, and I know who I am.

So, who are you?

I'm a playful student, a video game player, a ceramic artist, a son, a boyfriend. But mostly, I'm a better human being than I was ten years ago. I don't strive to be the best artist; I just strive to be a better person each day.

Video games heavily influence your work. Why choose a traditional medium like ceramics instead of exploring NFTs or the metaverse?

What I do is very personal. It's my therapy. I've been playing video games for over 20 years. Growing up, it was all about playing, interacting and being free. No one talked about money. I understand the desire to go digital but clay is a more interesting platform for exploring big data.

Why do you consider clay a data platform?

Clay is extremely rich, and it's been here long before us. It's formed by the sedimentation of rocks and has absorbed everything we know of the world today. For me, it's the best encyclopedia. Clay is truer than anything else.

Words Amber Nicole Alston

Visit Thandiwe Muriu

Visit King Houndekpinkou

Visit 1-54

Published on 27/05/2022