Kehinde Wiley’s groundbreaking film installation, ‘Narrenschiff’ (2017), served as a powerful contemporary dialogue with the classic Ship of Fools allegory, a prominent motif in European culture since the late 15th century. This initial work laid the foundation for Wiley’s ongoing exploration of profound themes, depicting young Black men navigating the sea, their struggle to reach land acting as a poignant metaphor for enduring issues of migration, isolation, and societal displacement. Expanding upon these critical themes, Wiley’s exhibition at the National Gallery, encompassing five captivating paintings and a compelling six-channel digital film, delves into the realm of European Romanticism. He masterfully engages with its characteristic focus on grand oceanic and mountainous scenes, humankind’s intricate relationship with the natural world, and subtly addresses pressing contemporary concerns, including the escalating crisis of climate change and the complex dynamics of global migration.
Within this expansive project, a particularly compelling film segment features Black Londoners encountered and cast by Wiley directly from the vibrant streets surrounding the National Gallery. Wiley embarked with these individuals on a transformative journey to Norway, immersing them in the breathtaking landscapes of fjords and glacial formations. Mountains, in their imposing grandeur, can be interpreted in myriad ways. They can represent challenges to be overcome, symbols of conquest and human ambition. Conversely, they can be perceived as impenetrable bastions, the Earth’s loftiest points, inherently linked to the heavens and embodying notions of virtue, rationality, purity, and divine presence. In Wiley’s film, aptly titled ‘In Search of the Miraculous,’ the Black characters, both women and men, navigate this duality. They are alternately depicted as overwhelmed by the sheer scale and intensity of the snow-laden environment, almost dissolving into the pervasive whiteness of the landscape, or positioned at the forefront, commanding the scene as they contemplate nature with a sense of reverence and inherent dignity. His paintings resonate with the archetypal Romantic wanderer, a solitary figure embarking on a quest for spiritual enlightenment or profound self-discovery.
Marine painting, throughout history, has been inextricably linked to the narrative of European maritime dominance. Traditionally, it served to glorify imperial exploits, voyages of exploration to distant lands, and consistently emphasized the valor of seasoned seafarers and the commanding leadership of predominantly white naval officers. Wiley’s artistic lens offers a contrasting perspective on oceans. He portrays them as dynamic, unpredictable, and even volatile forces, challenging the romanticized notions of control. Simultaneously, he acknowledges their crucial role as vital trade routes, pathways facilitating movement and exchange, and potential avenues of escape in the pursuit of a better life. Oceans, in Wiley’s interpretation, also become symbolic of a fading imperial era, reflecting on the transience of power and historical shifts.
Strategically located in the Sunley Room, at the very heart of the National Gallery’s esteemed collection, this accessible free exhibition forges a compelling dialogue. It effectively draws attention to the vibrant and multifaceted relationship between Wiley’s contemporary oeuvre and the National Gallery’s rich holdings of historical landscape and seascape paintings. By placing Wiley’s work in direct conversation with masterpieces by iconic artists such as Claude, Friedrich, Turner, and Vernet, the exhibition invites viewers to reconsider established artistic traditions and engage with contemporary perspectives on enduring themes.
