Addressing and Redressing History in Simone Leigh’s Sculptures
In her multifaceted work, Simone Leigh (b. 1967, Chicago) explores the history of the African diaspora, examining topics such as the elusive legacy of enslavement, the indelible effects of colonialism and the forced migration of Black people. In this article, I focus primarily on her ceramic and bro...
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| Publicat a: | URI:https://journals.openedition.org/angles, |
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| Autor principal: | |
| Format: | Article ou chapitre numérique |
| Idioma: | Anglais |
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Angles
2025
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| Accés en línia: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Sumari: | In her multifaceted work, Simone Leigh (b. 1967, Chicago) explores the history of the African diaspora, examining topics such as the elusive legacy of enslavement, the indelible effects of colonialism and the forced migration of Black people. In this article, I focus primarily on her ceramic and bronze work which I read as a reimagined genealogy of Black subjectivity. In regards to her approach, Leigh addresses history and exposes quotidian, therefore banalized, “scenes of subjection,” to echo Saidiya Hartman’s eponymous book. After delving into the controversy surrounding her main medium of expression, ceramics, I emphasize in this article the use of the archive both as a source of inspiration and a way to redress history. I also provide an analysis of her installation Last Garment (2022) as a therapeutic showcase or a “critical fabulation.” |
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