About Nicola Roos
Since discovering the medium in 2015, I have primarily been working in life-size figurative sculptural installations constructed out of recycled rubber tyre tubing. I investigate the origins of civilization and society, as well as the ever-changing politics of national identity, collective memory and cultural belonging in the postcolonial world.
The point of reference for my 2015 debut installation, No Man’s Land, was the only black Samurai ever written into recorded history: a Mozambican slave, known only by the name of Yasuke, who was taken from his homeland and came to serve under an influential shogun in 16th century Japan. His legacy of cross-cultural exchange shifted the focus to this new world state of ethnographic modernity and the transient fixity of culture and tradition. My interest in colonial history and the commemoration of abstruse individuals was sparked by the little-known narrative of Yasuke and the myriad of socio-cultural implications that ripple outwards from this remarkable man in Africa and abroad.
My work suggests that this shifting state of culture and a resulting sense of rootlessness is so much more apparent at the dawn of what Okwui Enwezor calls post-Westernism – a possibly threatening, unstable no man’s land that we find ourselves in today. However, my characters are no longer individuals, but rather elements of an imagined realm beyond official history. They are the embodiment of a local cultural breakdown and a communal future where beliefs, assumptions and knowledge about place and culture can be deconstructed and re-negotiated.
Pictured: Nicola Roos
No Man's Land III Plaster of Paris, polyurethane foam, wood, nails, beads, used inner tyre tubes, cotton cloth, cotton cord. Approx. 1900 mm x 830 mm x 400 mm (excluding 800 mm x 800 mm x 200 mm base) 2015 KT Wong Foundation Collection, Cape Town, South Africa.
I graduated at the top of my class from the Michaelis School of Fine Art at the University of Cape Town, South Africa, in May 2017.
I achieved 95% for my final-year body of work, DIS(re)MEMBERINGS.
I was also the recipient of the annually-awarded Michaelis Prize.
Pictured (from left to right at back): La Virgen (The Saviour), La Llorona (The Lamenter), La Chingada (The Bitch) & La Malinche (The Outsider) Front: La Lengua (The Tongue)
In the Media
Matthew Miller produced a short in-studio interview clip providing some background information about my inspiration and the historical contexts informing works from the "No Man's Land" and "DIS(re)MEMBERINGS" series. This video was created to accompany the Depart Foundation's Right at the Equator African contemporary art group exhibition that took place in Malibu, USA in February 2018. The three works from 2016/7 that were included in this exhibition, curated by Valerie Kabov and Sylvester Ogbechie, are La Chingada (The Bitch), El Mestizo (The Half-Blood) and Obisidan Samurai I (No Man's Land series).
As of September 2017, I am not available for any commissions. I have committed to a long-term project that will have my full attention until its completion.
Nicola graduated from the Michaelis School of Fine Art with 95% in 2016. She is in charge of the conceptual development, design and technical processes and plays the primary role in all the different stages of the development of a sculpture.
Nicola's partner in life and in business, Matthew is currently a final year Information Technology student. He helps out in the studio and pursues his newfound photography talents during his free time. He plans to take up a more permanent position in the studio after he completes his studies.
Michayla is Nicola's first permanent employee and has been on board since October 2017. She assists with all aspects of the creative process.
Cherel, Michayla's younger sister, is a grade 11 high school student who completes various small-scale crafting projects from home in her spare time.
Simoné, Michayla and Cherel's cousin, has a full-time career in early childhood development. However, she assists with complex rubber knitting projects from home when possible.
Bethel is a Malawian native who is currently searching for a permanent position as a housekeeper or a babysitter. She takes on various small- to medium-scale rubber crafting projects from home, such as knitting and braiding.
Linda, Nicola's mother, works in languages and content creation. She has always had a passion for the arts and lends a hand in the studio with regards to the design and manufacturing of the costumes for Nicola's life-size figurative work whenever she has a free moment.
A three-part series of human/chair hybrid sculptures commenting on the objectification of women in contemporary society.
A bronze cast symbolising the "unmonumental" in the form of a network of inter-dependent socio-economic relationships within a corrupt democracy.
A bronze-cast fantastical skeletal structure in black ironsand focusing on the duality of man as represented by the Serpent of Eden in the Christian Bible.
A collection of four life-size figurative sculptures based on Yasuke, the only known samurai of African descent in Feudal Japan, that investigates tenets of de-traditionalisation and a sense of ethnographic "rootlessness".
An installation exploring the parallel narratives of two indigenous women in the colonial era, La Malinche in Mexico and Krotoa-Eva in South Africa, and their effects on changing perceptions of femininity and socio-cultural belonging throughout the last five centuries.
A series of furniture-based sculptures originally created to serve as companion pieces to the figures of DIS(re)MEMBERINGS. These sculptures explore the relationship between material possessions and collective memory, especially focusing on objects that function in a liminal expanse where cultures and traditions collide.
A return to Yasuke; this time interrogating the notion of "diasporic indigeneity" in the wake of nation-wide demands of the decolonisation and "Africanisation" of existing knowledge bases in South Africa and the broader African continent.
A late addition to DIS(re)MEMBERINGS as the companion sculpture to La Chingada (The Bitch), referencing Martín Cortés, illegitimate son of La Malinche and Hernándo Cortés. Martín was also the first noble-born child of mixed ethnographic heritage in Mexico during the Spanish Conquest and is seen as the ancestor of the mestizo people.
Another course of exploration dealing with Yasuke. This is the start of a large body of work focused on the same subject matter that form the basis of my first solo exhibition, which has preliminarily been scheduled to take place in the United States in August 2019.
A re-visitation of the earlier "Hominis Ruinis" series, exploring dichotomous notions of domesticity and the inherent power of the feminine despite perception of women as material posessions or household objects.
An exploration of the liminal space between African spirituality and the material world via an Egungun figure. "Egungun" in the broadest sense of the term, describes all types of Yoruba masquerades or masked/costumed figures. When used in a more specific sense, "Egungun" refers to the Yoruba masquerades (primarily performed in West Africa) that are connected to ancestor worship, or to the "ancestors" themselves as a collective power.
Arnold Lehman Private Collection
New York, USA
David Altman Private Collection
Los Angeles, USA
KT Wong Foundation Collection
Cape Town, South Africa
Sovereign Trust Corporate Collection
Cape Town, South Africa
Grizelda Hall Private Collection
Cape Town, South Africa
University of South Africa (UNISA) Public Collection
Tshwane, South Africa
DaLima Private Collection
Zoot Nel Private Collection