Romuald Hazoumé (Beninese, born 1962). Fiegnon, 2011. Plastic, fiber (possibly synthetic), metal (copper wire), 11 x 8 x 8 1/2 in. (27.9 x 20.3 x 21.6 cm). Brooklyn Museum, Caroline A.L. Pratt Fund, 2014.32.2. © artist or artist's estate (Photo: Brooklyn Museum, 2014.32.2_front_PS9.jpg)
Romuald Hazoumé (Beninese, born 1962). Fiegnon, 2011. Plastic, fiber (possibly synthetic), metal (copper wire), 11 x 8 x 8 1/2 in. (27.9 x 20.3 x 21.6 cm). Brooklyn Museum, Caroline A.L. Pratt Fund, 2014.32.2. © artist or artist's estate (Photo: Brooklyn Museum, 2014.32.2_threequarter_PS9.jpg)
Fiegnon
Romuald Hazoumé
Arts of Africa
About this Brooklyn Icon
The Brooklyn Museum is commemorating its 200th anniversary by spotlighting 200 standout objects in its encyclopedic collection.
Loosely resembling a classical African mask, Fiegnon is part of an ongoing series of playful and political works constructed from recycled waste by Romauld Hazoumè. The Beninese artist has noted that his works are portraits of particular individuals. This example, with its long braids, represents a Fulani man Hazoumè met fishing in the lagoon where he found the oil can, or jerrican.
The mask’s visual simplicity belies the complex cultural legacy it represents through its iconography and motifs. In its former life, the jerrican was used to transport illicit petrol on the back of bikes from Nigeria to Benin. The artist’s choice of materials highlights the ongoing economic exploitation and ecological devastation by multinational oil companies in those two countries. Through repurposing and transforming banal objects, Hazoumè changes not only the things themselves, but also the way we think about what they used to be and what they have become.
The Brooklyn Museum is commemorating its 200th anniversary by spotlighting 200 standout objects in its encyclopedic collection.
Loosely resembling a classical African mask, Fiegnon is part of an ongoing series of playful and political works constructed from recycled waste by Romauld Hazoumè. The Beninese artist has noted that his works are portraits of particular individuals. This example, with its long braids, represents a Fulani man Hazoumè met fishing in the lagoon where he found the oil can, or jerrican.
The mask’s visual simplicity belies the complex cultural legacy it represents through its iconography and motifs. In its former life, the jerrican was used to transport illicit petrol on the back of bikes from Nigeria to Benin. The artist’s choice of materials highlights the ongoing economic exploitation and ecological devastation by multinational oil companies in those two countries. Through repurposing and transforming banal objects, Hazoumè changes not only the things themselves, but also the way we think about what they used to be and what they have become.
MEDIUM
Plastic, fiber (possibly synthetic), metal (copper wire)
DATES
2011
DIMENSIONS
11 x 8 x 8 1/2 in. (27.9 x 20.3 x 21.6 cm) (show scale)
SIGNATURE
Signed with black felt tip marker on the inner proper left edge, "Fiegnon 2011 H2HA 2000"
COLLECTIONS
Arts of Africa
ACCESSION NUMBER
2014.32.2
CREDIT LINE
Caroline A.L. Pratt Fund
EXHIBITIONS
MUSEUM LOCATION
This item is not on view
CAPTION
Romuald Hazoumé (Beninese, born 1962). Fiegnon, 2011. Plastic, fiber (possibly synthetic), metal (copper wire), 11 x 8 x 8 1/2 in. (27.9 x 20.3 x 21.6 cm). Brooklyn Museum, Caroline A.L. Pratt Fund, 2014.32.2. © artist or artist's estate (Photo: Brooklyn Museum, 2014.32.2_front_PS9.jpg)
IMAGE
front, 2014.32.2_front_PS9.jpg. Brooklyn Museum photograph, 2014
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RIGHTS STATEMENT
© Romuald Hazoume
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