Untitled (white man’s burden) examines the notion of racialised supremacy and its profound implications on societal structures. It challenges the idea that one ‘race’ is inherently superior to another and underscores the detrimental impact of an unequal society, where the global majority suffers to the advantage of the global minority. This exploration delves into the historical perpetuation of whiteness, which has been sustained and reinforced through centuries of systematic conditioning, resulting in the exploitation and degradation, for the benefit of a global minority.

 

Whiteness has been a persistent force, intricately woven into the fabric of societal institutions and cultural norms. This deeply ingrained ideology has been perpetuated and legitimised through various mechanisms, starting with religious institutions, particularly Christianity. Historically, Christian doctrine was manipulated to justify colonialism and slavery, portraying these accomplishments as a civilising mission ordained by divine authority. 

 

Forbes’ work addresses the narrative of whiteness by disfiguring the mannequin figures, rendering them in a manner that conveys an odiousness upon those deemed victors in a society steeped in racialised bias. This society perpetuates itself through the structures and systems upholding whiteness. Historically and contemporarily, the perpetuation of whiteness is evident through the actions of leaders and the policies they enforce, designed to maintain power structures that oppress the global majority of black and brown people. This artistic strategy not only challenges the visual aesthetics associated with power and beauty but also questions the underlying assumptions that sustain racialised inequalities.

 

In the current socio-political landscape, there is a concerning resurgence of far-right movements, emboldened by populist leaders and facilitated by widespread access to mass communication platforms. These factions vehemently oppose any efforts towards achieving equity and social justice, further entrenching societal divisions and perpetuating systemic inequalities.

 

The use of plinths in the arts is a deeply rooted practice, serving both functional and symbolic purposes. A plinth, in its simplest form, is a base or platform upon which a statue, sculpture, or other art forms are placed. This structural element elevates the artwork, granting it prominence and importance. In Forbes’ practice, plinths have been recontextualised to convey sociopolitical commentary, reflecting fragility and instability through the inclusion of fixed wheels. 

 

Historically, plinths have been essential in the display of statues and monuments, serving to physically elevate and symbolically honour individuals and events. However, in recent years, the figures depicted on these plinths have come under scrutiny. Many of these statues commemorate leaders whose actions and legacies are now being re-evaluated in light of contemporary values and a deeper understanding of historical injustices. 

 

Forbes’ engagement with plinths predates the death of George Floyd; however, the events that followed Floyd’s death have intensified the discourse surrounding public monuments. The global movement for racial justice has prompted critical evaluations of statues commemorating figures who accumulated wealth and power through the exploitation of black and brown people. Forbes’ work interrogates these legacies by placing white male deformed mannequins on plinths, but with a critical intervention. By equipping these figures with books, wigs, and fenders, and surrounding them with expanding foam, later to be coated in Jesmonite, Forbes introduces a new layer of awareness. In doing so, the work invites viewers to reconsider the narratives embodied by these statues and their relevance in the twenty first century.