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America Age > Blog > Art & Books > African Mythology and Ancestry Merge in Zak Ové’s Exuberant Sculptures
Art & Books

African Mythology and Ancestry Merge in Zak Ové’s Exuberant Sculptures

Enspirers | Editorial Board
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African Mythology and Ancestry Merge in Zak Ové’s Exuberant Sculptures
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Merging themes of interstellar journey and cultural convergences, Zak Ové creates large-scale sculptures and multimedia installations that discover African ancestry, traditions, and historical past. The British-Trinidadian artist’s follow is deeply rooted within the narratives of the African diaspora, specializing in traditions of masquerade. He delves into its function in efficiency and ceremony, in addition to masks as potent devices for self-emancipation and cultural resistance.

Ové’s interdisciplinary work spans sculpture, portray, movie, and pictures, exploring hyperlinks between mythology, oral histories, and speculative futures. “His sculptures often incorporate symbols, iconography, and materials drawn from African, Caribbean, and diasporic traditions, merging them with modern aesthetics to celebrate the continuity and adaptability of culture,” his studio says.

Element of “Black Starliner” (2025), chrome steel, aluminium, fiberglass, and resin, 40 x 22.6 x 27.4 toes

Ové typically delves into the connection between modern lived experiences and the spirit world, like in “Moko Jumbie” or a glass mosaic set up in London titled “Jumbie Jubilation.” In these works, the artist brings an ancestral spirit rooted in African and Caribbean folklore referred to as a Jumbie to life as a spectral dancer, cloaked in banana leaves with a torso of a golden, radiant face.

The motif of rockets has emerged in Ove’s current installations, like “The Mothership Connection” and “Black Starliner,” which function totem-like stacks of African tribal masks and lattice-like Veve symbols—intricate designs employed within the Vodou faith to symbolize religious deities referred to as Lwa.

“The Mothership Connection” combines architectural components referencing the Capitol Constructing in Washington, D.C., and a hoop of Cadillac lights nodding to Detroit, “Motor City.” The crowning component is a huge Mende tribal masks that glows when the 26-foot-tall sculpture is illuminated at evening, with a pulsing rhythm suggestive of a heartbeat.

The title can be a reference to the enduring 1975 album by Parliament-Funkadelic, Mothership Connection, in with outer house is a through-line within the group’s celebration of what BBC journalist Frasier McAlpine described as a response to the waning optimism of the post-civil rights period. Mothership Connection soared at a time when “flamboyant imagination (and let’s be frank, exceptional funkiness) was both righteous and joyful,” he wrote.

a tall, totemic, colorful sculpture illuminated at night, with a blue African mask on the top
“The Mothership Connection” (2022), chrome steel, bronze, resin, and combined media, 9 x 1.8 meters. Put in at Frieze London 2023

Ové echoes this exuberance by means of vibrant colours, repetition, and monumental scale. Library Avenue Collective, which exhibited “The Mothership Connection” on the grounds of The Shepherd in Detroit late final yr, describes the work as a nod “to a future where Black people are included in all possible frames of reference.”

In a monumental meeting of African masked figures titled “The Invisible Man and the Masque of Blackness,” Ové conceived of 40 graphite sculptures organized in a militaristic grid, every six-and-a-half toes tall, which have marched throughout the grounds of Somerset Home, Yorkshire Sculpture Park, San Francisco Metropolis Corridor, and Los Angeles County Museum of Artwork.

The title of this piece references two groundbreaking works in Black historical past—Ralph Ellison’s 1952 novel Invisible Man, which was the primary novel by a Black writer to with the Nationwide Guide Award, and Ben Jonson’s 1605 play The Masque of Blackness, noteworthy for being the primary time blackface make-up was utilized in a stage manufacturing.

an installation on a lawn of numerous graphite figures resembling African sculptures
“Invisible Man and the Masque of Blackness” (2016), graphite. Put in at Yorkshire Sculpture Park

Ové reclaims and reframes dominant narratives about African historical past, tradition, and the diaspora, interrogating the previous to posit what he calls “potential futures,” the place potentialities remodel into realities. “By fusing ancestral wisdom with Afrofuturist ideals, Ové ensures that the voices of the past remain integral to shaping the futures we envision,” his studio says.

“The Mothership Connection” shall be exhibited later this summer season and fall at 14th Avenue Sq. in New York Metropolis’s Meatpacking District, accompanied by a gallery present at Chelsea Market. Dates are at the moment being confirmed, and you’ll comply with updates on Ové’s Instagram.

a vibrant sculpture with a gilded Black man's face in the center, serving as the body of another smaller, masked, dancing figure, surrounded by tropical leaves
“Moko Jumbie” (2021), combined media, general 560 centimeters
a detail of a vibrant sculpture with a gilded Black man's face in the center, serving as the body of another smaller, masked, dancing figure, surrounded by tropical leaves
Element of “Moko Jumbie” (2021), combined media, general 560 centimeters, put in at Artwork Gallery of Ontario, commissioned with funds from David W. Binet and Ray & Georgina Williams, 2021. Picture courtesy of AGO
a series of vertical glass mosaic panels installed on the facade of a building in bright patterns and showing Black figures in colorful regalia
“Jumbie Jubilation” (2024), glass mosaic panels, dimensions range round 11.5 x 1.2 meters per panel
a detail of a glass mosaic showing a Black figure
Element of “Jumbie Jubilation” (2024)
a suspended sculpture of a sphere with an African mask on the front and nodes of power fists, overall resembling a virus
“Virulent Strain” (2022), graphite, 22-carat gold leaf, and bronze, 120 centimeters in diameter
an installation in a courtyard of numerous graphite figures resembling African sculptures
“Invisible Man and the Masque of Blackness” (2016), graphite. Put in at Somerset Home, London
a vibrant, tall, totem-like sculpture outside of a contemporary museum building
“Black Starliner” (2025), chrome steel, aluminium, fiberglass, and resin, 40 x 22.6 x 27.4 toes. Put in at Louvre Abu Dhabi
a vibrant, tall, totem-like sculpture
“The Mothership Connection” (2022), chrome steel, bronze, resin, and combined media, 9 x 1.8 meters. Picture courtesy of Library Avenue Collective

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TAGGED:AfricanAncestryExuberantmergeMythologyOvésSculpturesZak
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