Chris Ofili

Winning the Turner Prize in 1998 established Chris Ofili’s position within the contemporary art world as an individual of undeniable talent and innovation.  Ofili’s original manipulation and use of media, coupled with his multi-layered and open-ended references to contemporary urban culture and awareness of the history of art continues to astound his audiences and elicit a broad range of responses from the controversial to the delighted.

Strange Eyes, 2001 offers the viewer an exuberant and glorious rendering of an African woman whose individual beauty resonates beyond the humorous caricature that lies within most of Ofili’s large-scale painted portraits.  Beauty, humor, confusion: these are all aspects of Ofili’s work that he wants us to experience. As the artist has stated, “…there are so many layers of meaning…So many contradictions…It’s about beauty.  It’s about caricature.  And it’s about just being confused.  But at the same time, it’s about not being uncomfortable with that (confused) state of mind.”  (interview with the artist and Paul D. Miller, ``Deep Shit'', Parkett, no. 58, 2000, pp. 171-176 ). Like the artist, his paintings welcome questions and offer multiple answers. 

Ofili has explained that the origins of his work are complex and varied and are intended to be interpreted by the individual as a compilation of a variety of influences.  The artist likens his work, in this sense, to Hip-Hop, a musical art-form born of complex and varied influences that draws not only from its more traditional  and ethnic roots but also from its contemporary urban surroundings, “an approach to making things and looking at things with no hierarchy.” (Ibid.).  Ofili offers several explanations and sources of inspiration for his use of elephant dung in his work.  Ofili began using dung after a trip to Zimbabwe in 1992.  This trip has often been referred to as a turning point in Ofili’s career, sensitizing him not only to the visual traditions of Africa which he now uses in his paintings, but also to the material relationship between animals and the earth.  That said, Ofili has also explained, “Somehow it makes the paintings feel more relaxed, instead of being pinned upon the wall like it’s being crucified…(The painting can) stand in it’s own shit and watch the other paintings being crucified on the wall.”  (Ibid.) Instead of one story canceling another, Ofili’s inspirations co-exist and communicate both within each painting, and with each individual viewer, to form complex and unique works that refuse to be categorized.

Ofili’s technique is another aspect of his work that can be assigned a number of influences. His vibrant palette and meticulously dotted surfaces can be assigned such ethnic roots as those found in Nigerian, Australian Aboriginal, even Haitian artistic tradition, and while the artist doesn’t reject these sources he also speaks about the psychedelic impact of such Op artists as Bridget Riley and finally the rhythmic beat in music, “because when dots are made, there is this constant tapping noise…That comes out of just being in the studio and listening to music.” (Ibid.)

Strange Eyes epitomizes Ofili’s layered absorption of cultural and historical influences.  The female’s psychedelic back-drop, unassigned “ethnic” clothing, and mesmerizing multi-layered gaze come together to form a stunning re-mix of the artist’s inspiration that carries a beat of its own.  She is a diva who should be seen, but also heard.  As with many of Ofili’s portraits, Strange Eyes has a unique sound-track of her own, “I’m trying to make paintings that make you hear them, rather than see them.  So actually, you’re looking at music.  So it will teach your eyes to hear, and your ears to see.” (Ibid.)