ART: Masks used as tropes to query Identity and Spirituality   

Through negotiating with organic and synthetic material the artist constructs powerful conversations on the tension between our spiritual and cultural identity, and the modern world we live in 

ARTS | By Dominic Muwanguzi | Juuko Hoods’ new body of work is captivating and will leave many viewers who will visit his solo show this month at Umoja Art gallery making more than a nod of approval. This reception is something to be expected given the artist’s norm of transcending the usual and unquenchable desire to create a precedent every time he picks up a brush. For more than two decades, he has etched his name among the most versatile artists on the regional art scene. This singular energy and character is very much visible in his recent paintings as he meticulously works with a diversity of techniques, media and self introspection to realize his objective.

The mask as a trope is recurrent in the artist’s work and is interrelated with barkcloth. This technique of working with traditional objects known for their spiritual significance compellingly draws the viewer closer to the art work through infusing an aura of mystery and suspense in the work. The notion of adorning the different figures with different types of masks depending on a particular subject matter appropriately feeds into this technique. In one painting where the subject of a male figure is seated on an ordinary stool and on his right hand side is a tribal stool with a bowl sitting on it, the face of the protagonist is masked by a human mask as he stares right towards the viewer.  This painting immediately captures the viewer’s attention, not only for the central character who sits there; hands resting on his thighs and legs half crossed as if in a reflective mood; but for every other imagery in the composition which imbues muted conversations on the subject matter.

This (Untitled) painting is a representation of the artist’s personal experience of spirituality and identity in his everyday life which incidentally permeates through all the other works. He explains that both as an artist and individual he has a connection to his spiritual being. According to him, this is critical in the process of authentic expression of himself on canvas. “You have to be connected to your spirit in the first place for you to manifest yourself physically,” he notes. Within the context of this painting, the artist queries his true identity based on his spiritual relationship and the modern world he lives in. He is unsure of where exactly he belongs and what motivates him to live on a daily. Is it the spiritual or the modern world with its many limitations?  The artist figuratively portrays this conflict he encounters within himself by painting a tribal stool which in many African traditional settings has spiritual connotations and also depicts himself sitting on an ordinary (modern) stool, and wearing modern attire juxtaposed with Kitengi fabric to allude to his African identity. The human mask he adorns on his face is intended to conceal his state of confusion but also communicate his identity as a spiritual being and cultural heritage as an African.

While the work assumes a philosophical tone with its inquiry into the disconnect between our spirituality and  identity as we pursue our lives, it doesn’t shy away from the pertinent issues of every life like black masculinity which now is fast dominating  many conversations globally.  In the painting Safe Spaces, the artist depicts a sauna setting with three figures wearing masks. The female figure is reclining on the bench, as the other two male figures seemingly are in conversation. This scene prompts conversations around the subject of emotional fluency which is much synonymous with black men. Emotional fluency is literally the ability for men to connect, express or communicate their emotions effectively in relationships. While there have been several safe spaces created for the female gender to express themselves and explore their identity, little attention has been provided to their male counterparts. As such, this has given rise to men feeling inadequate and vulnerable in many spaces where they’re not expected to talk about their emotions or vulnerability.  The most outstanding aspect of this painting is not necessarily exposing the presence of this form of vulnerability among the male gender, but its potential to trigger conversations around how men can be helped to overcome this common stereotype attached to their identity.

This body of work clearly illustrates the versatility of the artist rooted in one of his foremost principles as an artist: evolution. Based on his earlier works, the artist has honestly evolved in terms of subject matter, technique and media. While previously he had inspired conversations around the theme of material culture in contemporary art through painting on barkcloth and manipulating it in order to be palatable to wider audiences, he now pushes the boundaries of his traditional interaction with the material further by stitching it up with organic fabric like raffia but also collaging it with other synthetic material. Through such expert negotiation with material, subject matter and personal experience, the artist demonstrates his maturity in studio deftness which obviously heralds a new chapter in his career.

*****

Juuko Hoods has been collected by Arak Collection, Kelis, an American Multi Platinum and Grammy nominee singer, Ajou Deng, former Professional Basketball player and  Nicole Coleman, an American Actress, among other collectors living both on the continent and abroad.

The exhibition is showing at Umoja Art gallery, located on Mukalazi Road, next to Kabira International School, Bukoto