Yinka Shonibare (CBE) is an influential British/Nigerian contemporary artist whose work delves into complex themes of racial, class, and national identity. Born in London in 1962 and raised in Lagos, Nigeria, Shonibare’s bicultural background has profoundly influenced his art and outlook on life.
He is primarily known for his unique artistic exploration of post-colonialism and the effects of globalisation on communities worldwide. His diverse work spans painting, sculpture, photography, film, and installations, characterised by his signature use of brightly coloured Ankara fabric and Dutch wax.
A stark cultural duality marked Yinka Shonibare’s early life, splitting his formative years between the U.K., where his mother grew up, and Nigeria, where his father Olatunji lived. Shonibare’s sense of cultural “otherness” was heightened by a late childhood experience of contracting transverse myelitis, an inflammation of the spinal cord that left him partially paralyzed. Despite this, he recovered enough to continue his artistic studies.
Shonibare studied Fine Art at Byam Shaw School of Art (now Central Saint Martins) and later at Goldsmiths College, University of London, where he received his MFA. These prestigious institutions equipped him with a solid grounding in both traditional European and African art and a lifelong love for contemporary practices. The fusion of these influences has been a significant theme of his career.
Yinka Shonibare’s early work is deeply influenced by Western art history and literature, which he reinterprets to critique contemporary societal norms. He addresses issues of race and class using various media, often juxtaposing historical European contexts with African cultural elements. One of the most distinctive aspects of Shonibare’s work is his use of Dutch wax fabric, which he buys from Brixton Market in London. Initially produced in Europe for the Indonesian market, Dutch wax fabric was later adopted by West African communities and has since become symbolic of African identity. Through this material, Shonibare addresses themes of colonialism, global trade, and cultural appropriation.