Shonibare nimmt Bezug auf eine "Grand Tour", eine Landpartie von Adligen im 18. Jahrhundert. Die Kostüme sind aus bedruckten afrikanischen Stoffen geschneidert.
Yinka Shonibare, a British Nigerian artist working in the twenty first century, represents more than just a meeting of two identities; his art more than just Africa meeting the West. Best known for his sculptural installations, Shonibare dresses life-size headless mannequins in elaborate Victorian fashions. The cloth he chooses for these clothes, however, has a trajectory of its own. Dutch wax is a complicated material, with roots in both Europe and Africa and meaning that changes upon its context. Using the Dutch wax to upset the inherent harmony of the art historical importance his works recall, Shonibare plays with how we interpret one another. In the piece 100 Years from 2000 he takes his game to a new level. Exploiting the modernist form of the grid with Dutch wax, Shonibare uses the size and conflicting materials of paint and textile to represent more than just a joke. 100 Years exposes a deeper entanglement: a more painful relationship between Africa and the West that has been masked with both humor and ignorance for over a century.
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