Skunder indicates that the interlocking and weaving, indicative of Ethiopian illuminated manuscripts, is called kulflfu and the technique is portrayed in his work to create a rich and textured surface. Skunder’s kulflfu composition in Harvest Scrolls manifests itself in the complex yet subtle shapes that make up the background. The dark shapes and blue tones highlight the vibrant patterns on the coloured hanging scrolls in the foreground. Skunder’s interest in time-worn materials is evident in the background as the forms fade between shapes, symbols and script, providing an underlying rhythm to the work.
Skunder's works give life and movement to objects that otherwise would remain static. Music, Jazz in particular, was important to Skunder’s working process. Skunder danced whilst painting. The technicolour scrolls that appear to sway, twist and fold across the suspended rods echo the happiness the artist experienced during the creative process. He creates a sense of movement and fluidity through the shape of the scrolls, leading the viewer to imagine the artist moving as he painted the work.
Scrolls proved to be a life-long interest, even obsession, for Skunder. The free and dance-like qualities of Skunder’s work demonstrates his interest in objects constructed or uncovered by the unconscious mind whilst consistently standing as an icon of Africa’s modernism and political culture.
Harvest Scrolls bares a striking resemblance to Skunder's Spring Scrolls. Painted in the same year, Spring Scrolls is part of the Smithsonian National Museum of African Art's Collection.
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