for endless combinations of pattern and shape. Anatsui now purchases these caps for use in his studio. He hires young artists in his community to unroll the caps, and link them together with copper wire, forming blocks of various shapes. Much like quilting, these blocks are then wired together based on Anatsui’s design, creating heavy blankets of wire and metal that can be hung on the wall in various ways. The flexibility of the work means every time it is installed on the wall it will never look exactly the same way twice, as the small metal wires and pieces will drape a little differently each time. These artworks are difficult to define – they hang on the wall like a painting but come out into threedimensional space like a sculpture. They bend and move like cloth but are also heavy and have sharp edges. While the artist is aware of the comparisons to quilts and kente cloth, he prefers they be thought of as a unique kind of object, with its own, openended meaning. Some people have noted that the Des Moines Art Center’s work, Basin, resembles a map or a landscape seen from above, or even a large animal hide, and both of these are valid interpretations. It’s likely that the artist was thinking of many things when he arranged his patterns and colors, from the sights and sounds around his studio to the history of painting. These uncertainties and ambiguities add to the art’s appeal and allow the viewer to make up their own minds about it. In linking the scraps of metal, Anatsui says he feels he connects the individuals who have touched the materials in their journey from bottle cap to work of art. He says “if you touch something, you leave a charge on it, and anybody else touching it connects with you, in a way.” Beyond the raw materials, he is also interested in the history and cultural impact of the of the liquor trade, the production, marketing, and environmental impact of which connects Africa, Europe, and the Americas. Despite his international success, Anatsui has continued to work and advocate for the arts and people of Nigeria. Now in his 80s, he continues to work and influence a generation of young artists. justin Favela CENTRAL AMERICAN NOW OPEN MORE AT DESMOINESARTCENTER.ORG Justin Favela (American, born 1986) Detail from Central American, 2021 / Paper and glue / Courtesy of the artist 4700 GRAND AVENUE | DES MOINES
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