Nicola Roos BA Fine Art (Sculpture), Michaelis School of Fine Art, University of Cape Town 2016 The Way of The Butterfly , 202 4 in collaboration with Pambili Media Polyurethane plastic, used inner tyre tubes, stainless steel, aluminium, wood, polyurethane foam, nails, glass, epoxy resin, cotton cloth, cotton cord, cotton rope, thermoplastic, enamel paint, faux suede, beads, replica katana. Dimensions (mm): 20 0 0H x 620W x 1020D Artist Price: R180 000 Artist Biography I was initially inspired by the work of a classmate at Michaelis. Until then, I had not found a medium I was truly passionate about, but their piece led me to explore the malleability and unique qualities of rubber more thoroughly. The recycled aspect also appealed to me, especially considering Cape Town's recent severe drought, which has prompted a shift towards more sustainable living and practices. Additionally, recent socio-political events in South Africa, such as the nationwide call for the decolonization of tertiary education and the Africanization of knowledge bases, have encouraged South Africans to reconnect with their ancestries. This collective effort to untangle the complex processes of colonization that continue to affect our country has led us to re-examine our individual places in history and rediscover our sense of ethnographic and cultural belonging during this turbulent time. This historical awareness fuels my work, grounding it in a broader narrative. Over the past seven years, I have participated in various contemporary African art exhibitions both locally and internationally. My ongoing "No Man ’ s Land" series, which has become the backbone of my practice, has resulted in over 30 iterations of the African Samurai character, Yasuke. These works have been included in multiple public and private collections worldwide, symbolizing a blend of historical narrative and artistic innovation that speaks to global audiences. Artist Statement Since discovering recycled rubber tyre tubing in early 2015, I have focused on life-size figurative sculptural installations. My work investigates the origins of civilization and society, as well as the ever-changing politics of national identity, collective memory, and cultural belonging in a postcolonial world. The inspiration for my 2015 debut installation, No Man ’ s Land, was Yasuke, the only dark-skinned Samurai ever recorded in history. Yasuke's legacy of cross-cultural exchange highlights the transient fixity of culture and tradition, sparking my interest in colonial history and the commemoration of obscure individuals. Yasuke's narrative and its socio-cultural implications resonate deeply with my exploration of identity and belonging. My Yasuke sculptures reflect the themes of 'Take A Stand' by challenging preconceived notions of cultural purity and highlighting the dynamic, interconnected nature of modern identity. Beck, Joost, and Adam argue that traditional Western distinctions no longer apply straightforwardly to contemporary cultures. Cultural change, driven by socio-economic, historical, and political forces, leads to new syntheses in language, religion, and other domains, creating individualism- collectivism. James Clifford's concept of ethnographic modernity describes an increasingly common state of rootlessness and cultural interconnectivity, where traditional boundaries dissolve and new, hybrid identities emerge. My sculptures of Yasuke represent both an indigenous cultural cessation and a shared future. By bringing Yasuke to life through my art, I aim to honor his legacy and provoke contemplation about our collective cultural trajectory. My work invites viewers to reflect on the complexities of identity, the fluidity of cultural boundaries, and the importance of acknowledging and preserving diverse histories. Through the powerful imagery of Yasuke, I strive to take a stand against cultural erasure and advocate for a more inclusive understanding of our shared human experience.