尼日利亚艺术家画的丰腴而娇宠的人体画
瓦哈布
乌瑟曼·
The Nigerian Artist Drawing Exuberantly Plump And Pampered NudesUthman Wahaabcelebrates different.
“‘different bodies
’s “Phenomenal Woman”
’ that aren
’t actually that
’”When male artists paint female bodies, viewers often
’s gaze as a way to discern the artist
’s “The Birth of Venus,
look to the painted womanpoint of view. In Botticelli
” the n
goddess smiles slightly while averting her eyes just so, avoiding a true confrontation with the viewer. On the other hand, Manet’s “Olympia” ruffled feathers for depicting a subject who stared brazenly back at the viewer, demanding that if she was being seen, the viewer was, too. In Nigerian artist Uthman Wahaabdrawings, his undressed subjects avoid locking eyes with the viewer to such an extent that their heads appear shrunken, almost scratched out. In Wahaab
’s images, it
’s the bodies tha
demand attention: plump, luxuriant, fleshy forms that donwho’s looking. Lagos-based Wahaab, born in 1983 in Ilorin, Nigeria, grew up with a culture that glorified big bodies, in which weight was associated with affluence, health and comfort. “There is a tradition of brides-to-be really preparing for their
’
wedding by eating all the time,” Jasmine Wahi, the curator
behind Wahaab’s upcoming exhibition in New York City, told HuffPost.
“Plumping up was a way of taking care of yourself, of
being pampered. Being larger came with a certain social status.
”Recently, however, Western beauty norms have
permeated Nigerian consciousness thanks, in part, to the rise of social media. Womenshifted as the West乌瑟曼·瓦哈布
’s perceptions of their own bodies have ’s obsession with being thin has encroached.
Uthman Wahaab（搜狗翻译的，凑合看吧！）
当男性艺术家画女性的身体时，观众常常把画中女性的目光作为辨别艺术家观点的一种方式。在波提切利的《维纳斯的诞生》中，裸体女神微微微笑，同时避开了她的眼睛，避免了与观众的真正对峙。另一方面，马奈的“奥林匹亚”则因为描绘了一个公然回头看观众的对象而竖起羽毛，要求如果有人看到她，观众也是如此。
在尼日利亚艺术家乌瑟曼·瓦哈布的绘画中，他的未脱衣服的对象避免了与观众锁定眼睛，以至于他们的头看起来皱缩，几乎被划了出来。在
wahab的形象中，需要关注的是身
体:丰满、华丽、丰腴的形体，而不在乎看谁。1983年出生于尼日利亚伊洛林的拉各斯瓦哈布，
成长于一种
崇尚高大身躯的文化，在这种文化中，体重与富裕、健康和舒适联系在一起。wahab即将在纽约市举行的展览的策展人
Jasmine Wahi告诉《赫芬顿邮报》的新娘总是吃东西来为婚礼做准备。
:“有一个传统，即将结婚”。“丰腴是一种照顾自
' '
己、养尊处优的方式。规模越大，社会地位就越高。
然而，最近，西方美容规范渗透到尼日利亚人的意识中，部分原因是社会媒体的兴起。随着西方人对瘦瘦的痴迷日益加深，女性对自己身体的看法也发生了变化。
In Wahaab’s
drawings, made from conte, ink, pastel and graphite on paper, fat women wallow in various states of undress. Some watch TV or diddle on an iPhone, others sip a cup of tea or have a snack. All are relaxed, at ease, palpably comfortable in their own skin. As Wahi wrote in an essay accompanying the exhibition: sense of quietude that flavors the works should not be
interpreted as a portrayal of laziness; but rather, with luxury and beauty.”Artists Jenny Saville and Lucian Freud are known for adapting fat bodies into paint. Yet both are transfixed by the texture of flesh, the way it catches light and shadow, becoming almost meat-like in its representation. Wahaab replaces sensual curiosity with exalting commemoration, depicting womenbodies as more than just bodies. someone who he knew,
“The series was inspired by
“To my understanding,
’s
“Th
” Wahi explained.
he basically went out on a date with this woman and was struck by how under-confident and closed off she was. She admitted to
him it was because she was self-conscious about her size. He then started doing this work around the stigma of bodies’ that aren
’t actually that different.
‘different
” It’s been y
Wahaab, who is now married, met the woman who inspired the series; they didn’t keep in touch and she likely remains unaware of the effect she had on him. The women pictured on Wahaabcanvasses spring straight from his imagination rather than reality. Their body parts bulge and roll with exaggerated gusto, allowing the viewer to linger on the rounded glory of a thigh or elbow. The smallest features, aside from the heads, are the petite hands and feet, which Wahi reads as a tribute to the gracefulness of Wahaab’s imagined subjects. 在wahab的绘画中，由
conte，
墨水，粉彩和石墨制成的纸张，胖女人在各种各样的脱衣状态下打滚。有些人看电视或在
iPhone上闲逛，另一些人喝一
杯茶或吃零食。所有人都在自己的皮肤上放松、自在、明显舒适。正如瓦希德在展览的一篇随笔中写道
:“这种给作品增
色的宁静感不应被解释为懒惰的写照；而是具有奢华和美丽。' '
艺术家珍妮·萨维尔和卢西恩·弗洛伊德以将肥胖的身体改造成绘画而闻名。然而，两者都被肉的质地所震撼，它捕捉光和阴影的方式，在它的表现中变得几乎像肉一样。
wahaab
用颂扬性的纪念来代替感官的好奇心，把女性的身体描绘成
’
不仅仅是身体。
瓦希德解释说:“这个系列的灵感来自于他认识的人。
”。“据
我了解，他基本上是和这个女人约会，被她如此缺乏自信和封闭所打动。她向他承认，那是因为她对自己的身材有自知之明。然后，他开始围绕“不同的身体”这一事实上并没有那么不同的耻辱来做这项工作。
' '
现在已经结婚的瓦哈布已经多年了，她遇到了那个启发了这个系列的女人；他们没有保持联系，她可能仍然不知道她对他的影响。瓦哈布拉票上的女性形象直接来自于他的想象，而不是现实。它们的身体部位以夸张的味觉鼓胀和翻滚，使观众可以在大腿或肘部的圆形光辉上流连忘返。除了头部之外，最小的特征是娇小的手和脚，Wahi将其解读为对
wahab
想象中的主题的优雅的致敬。
While familiarizing herself with
Wahaab’s work, Wahi said she was somewhat surprised to learn that he was a practicing Muslim. Having previously worked with Muslim artists like Hiba Schahbaz, Wahi expected Wahaab to have experienced a tension between the tenets of Islam and a career in nude painting.
“My automatic assumption was that in
painting nudes he was doing something revolutionary or rebellious,
” Wahi recalled.
“But actually he
’s not.
”interactions with Wahaab, Wahi learned that some of the stigmas and taboos prominent in Pakistan, where Schabaz is from, don
Thro
尼日利亚艺术家画的丰腴而娇宠的人体画乌瑟曼
