The exhibition critiques the fallacy inherent in the opposing discourses of colonial - era «
noble savagery» as encapsulated in Joseph Conrad's Heart of Darkness (that African nature is «something monstrous and free»); and post-colonial populism which espouses the ideal of a natural world in Africa as a Paradise Lost.
Ashley is a troubling character not because she's a dingbat, but because she might not be a dingbat — and Madeleine's quest to bring a disadvantaged southern artist into the literati spotlight is mired in problems with exploitation and a system of patronage that sees virtue (for themselves or their subjects) in
noble savagery.
Not exact matches
Fittingly, the two series explore the contradictory narratives of colonial - era «
noble -
savagery» and post-colonial populism, both of which the artist claims, «forge artificial images of nature, the hiding place of the state's violence.»