Acclaimed for her towering figures, Leigh is the first Black woman to be commissioned for a solo presentation at the US Pavilion
Leigh is acclaimed for her towering figures of Black women, typically sculpted in ceramic and enveloped by voluminous skirts of raffia, with references ranging from Velásquez’sto traditional African dwellings and Mammy’s Cupboard, a Mississippi restaurant that could be described as blackface architecture: Patrons eat inside the giant “Aunt Jemima’s” brick skirt. Often missing eyes and ears, Leigh’s women seem impervious to such racism or vestiges of colonialism.
“If one spends a lot of time thinking about historical precedents, absences, urgencies, stories told and untold, there are layers and layers of depth to plumb in Simone Leigh’s work that are of critical importance,” says Jill Medvedow, director of theCourtesy of the artist and Matthew Marks Gallery Leigh’s much-anticipated show will include ceramics as well as bronzes, which were cast from her full-scale models—an unusual, labor-intensive approach. But then again, a theme of her oeuvre is the recognition of Black women’s historically unacknowledged labor.
Medvedow says one needn’t be an expert to be captivated by Leigh’s sculpture. “The power, the scale, the materials—the beauty—are equally compelling,” she notes. “I think her work will grab and speak to this broad audience.
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