Masquerade… evolution of the black body & The Black Paintings (fear of Black consciousness) 

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Masquerade... evolution of the black body & The Black Paintings (fear of black consciousness) have undergone significant transformation over the decade. Following his MA in Sculpture from the Royal College of Art (RCA), Forbes revisited this project, initially employing black cling wrap before transitioning to a taut, shiny plastic fabric. This progression mirrors his earlier masquerade sculptures that delved into the post-colonial discourse surrounding black/African and white/European identities.

 

Forbes’ installation features stand-alone sculptures on wheels, typically arranged in an oval formation with a central figure, ranging from seven to eleven in number. This work scrutinises our shared ontology, the journey we have undertaken, and the manner in which we navigate our present, acknowledging both its merits and shortcomings.

 

Forbes’ use of black plastic skin as a medium serves as a potent metaphor for the intricate layers of identity and heritage. By wrapping the sculptures, he emphasises the concept that our external appearances and cultural backgrounds are inextricably linked to our individual and collective identities. This material choice not only highlights the aesthetic aspects but also underscores the socio-political implications of racialised concepts and identity in contemporary society.

 

Forbes’ installation, with its dynamic and mobile sculptures, invites viewers to engage with the work from multiple perspectives, both literally and metaphorically. The oval arrangement, with a central figure, suggests a sense of unity, while also allowing for individual interpretation and movement around the work. This spatial configuration encourages viewers to contemplate the interconnectedness of personal and collective histories, as well as the ongoing evolution of identity in a globalised world.

In exploring the intersections of post-colonialism and racialised politics, Forbes’ work challenges audiences to reflect on the historical and contemporary implications of these themes. The sculptures serve as a visual dialogue, prompting viewers to consider the ways in which cultural heritage, racialised identity, and societal dynamics shape our understanding of self and other.

 

The discourse surrounding masquerade draws significantly from the African diaspora, reflecting on both historical and contemporary challenges. These challenges encompass a wide range of issues, including racialised politics, environmental concerns, income generation, educational aspirations for the youth, lifelong learning, migration, and poverty. The masquerade, as a cultural practice, symbolises the collective experience and evolving status of the African diaspora, addressing both historical roots and contemporary realities.

 

The body beneath the masquerade outfit represents an intricate blend of historical and modern elements, encapsulating the complex identity and experiences of the black community. The act of masquerading, moving from village to village, signifies a journey through different cultural and historical contexts, reflecting the adaptive and transformative nature of the black identity.

 

As, with Untitled (white man’s burden) the inclusion of the books, in this work, signals a call to action, whilst contributing to the aesthetic quality. It underscores the imperative for individuals to engage with the discourses of racialised politics if they aspire to contribute to the realisation of a fair and just society.

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the body is a site of contested meanings signifies the historicity of its being as

lived and meant within the interstices of social semiotics, institutional forces, and

various discursive frames of references.

George Yancy[1]

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[1] Yancy George, Black Bodies, White Gaze   The Continuing Significance of Race. Page 17

Rowman & Littlefield Publishers, INC. Plymouth United Kingdom. 2008