El Anatsui : "Out of West Africa" (2006)
El Anatsui interview, page 1 | 2 | 3 | 4 | 5
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El Anatsui. Erosion, (1992). Piqua-marfin and tempera, 296 cm. high.
R.J. Preece: What have you learned from using a chain saw in making some of your works?
I was first taken in by the line—its making and clawing propensity—and I tried to configure C-scrolls and other organic lines but found that these were not in the chain saw’s character. It lends itself to making straight lines, straight cuts, and can deliver many of these, fast. Also, its marks have a loud hustling quality or feel. In Visa queue, I attempted to use this quality for significance, but I think that Erosion (1992) is perhaps more effective in showing this. Made in connection with the Rio Earth Summit, Erosion tried to put the fast summary lines of the chain saw next to slower hand engravings, contrasting man’s mechanized, revolutionary technology with his slower organic, evolutionary culture.
R.J. Preece: What issues are you currently facing in your artistic and professional practice?
El Anatsui: On the front burner now, I am thinking about relocating and debating whether I should keep a studio in Nigeria and one in Ghana or operate in one location only. These are crucial questions, because the decision will affect what kind of work I create in the future: The rural setting at Nsukka and the urban setting at Tema (Ghana) both generate their peculiar inspirations, materials, and opportunities.
R.J. Preece: Future plans? Or future dreams?
El Anatsui: I have, for some time now, been dreaming of an art community with more interaction among people. People from different backgrounds, professions, and persuasions. There is no way that this synergy could not result in better understanding, not only of art, but also of the other disciplines. Something similar to this was enacted at the last Gwangju Biennale where we, the artists, were paired with viewer-participants. There were very innovative results in some of the pairings. I am thinking here of something more long-lasting, more intimate but informal. The emphasis is on the various disciplines, and not working in exclusion.
El Anatsui interview, page 1 | 2 | 3 | 4 | 5
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