by Mario Pissarra
Note: This review was originally published online in 2005.
English critic Mathew Collings says that art today is little more than a sound-bite, and he can’t recall when last he was seriously ‘challenged’ by an artist’s work. Ward’s latest exhibition, a series of Barbie dolls modelled on Sarah Bartmann, which are (mostly) dressed individually and displayed for sale on a glass shelf, tests Collings’ ideas. One could quickly construct not one but several soundbites: the displacement of a Eurocentric ideal by an Afro-centric one; the transformation of Sarah Bartmann into a symbol, an icon, and consequently a commodity; an iconoclastic, ‘lite’treatment of a serious subject… Viewed as sound-bite art one can imagine offence being taken at this latest objectification of an already objectified, tragic figure, and Ward may be treading on dangerous grounds here. But Ward is a challenging artist: he makes art using the most unlikely of materials (‘painting’ with cement, for example); and over the last year alone his work could be mistaken as that of at least three different artists. Not least Ward is concerned with critical issues such as globalisation, history, culture and identity; and refuses to make, as he puts it, “sanitised narratives.”Read More