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著作権 この作品の著作権は現在も存続しています。john goba naissanceは2019に没年しました。著作権は没後70年間継続するため、2089まで有効です。本画像は教育目的の参照用として掲載しており、権利は権利者に帰属します。
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Yellarne — john goba naissance
原寸は 130 × 70 cm (高さ × 幅) で、ここでは平均的な身長の成人と並べて表示しています。
背景色：john goba naissanceの生涯 (1944–2019) ▲ 本作品、1993
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Yellarne — john goba naissance
Of Mende origin, John Goba was born in 1944 in Mattru Jong, Sierra Leone, into the hermetic milieu of women’s Bondo Society, in which his grandmother played an important role. Goba came of age under her protection, and at the end of his period of initiation, he settled in Mountain Cut, a district in Freetown. There, when he was around thirty, he experienced a revelation which prompted him to begin making masks for the Ode-lay initiation rituals and masquerades that had sprung up in Freetown in the 1970s. Ode-lay masks and dress are characterized by an extraordinary ornamental exuberance, incorporating unexpected materials (such as Christmas tree ornaments) to achieve spectacular effects. Goba’s first masks, made of wood and brightly coloured with industrial paint, initially followed Ode-lay customs. As he became more experienced, he began to create sculptures with greater freedom.Goba’s imagery is inspired by the traditional lore and mysteries of his environment and his sculptures are a skilful blend of figures borrowed from time-honoured tales and his own fantasies. A multitude of porcupine quills invariably protrude from the main characters of his tableaux, as if assuring their protection and forbidding any access to the heart—or secret core—of the work. Each sculpture, Goba likes to say, has its own private history to which only the artist has the key.He died in 2019.
アーティストと美術館
生誕地 Makeni, Sierra Leone
Born in 1944 within the vibrant landscape of Mattru Jong, Sierra Leone, John Goba Naissent emerged as a sculptor whose work breathed life into the ancient traditions of the Mende people. His early years were deeply intertwined with the hermetic and sacred atmosphere of the women’s Bondo Society, a cultural influence shaped significantly by his grandmother. This formative period, steeped in the rituals and mysteries of initiation, provided the spiritual foundation upon which his entire artistic career would be built. As he matured and eventually settled in the Mountain Cut district of Fuala, Goba began to translate the profound cultural echoes of his youth into tangible, sculptural forms.
The trajectory of his artistry underwent a transformative shift in the 1970s. Following a personal revelation around the age of thirty, Goba began crafting masks specifically for the Ode-lay initiation rituals and masquerades that were flourishing in Freetown. These early works were characterized by an extraordinary ornamental exuberance, often incorporating unexpected materials such as Christmas tree ornaments to achieve spectacular, eye-catching effects. His initial explorations with wood and industrial paint were deeply rooted in Ode-lay customs, yet they served as a gateway to a much broader, more personal creative freedom that would eventually define his legacy.
What distinguishes the work of John Goba Naissance from his contemporaries is his unparalleled ability to blend organic textures with synthetic brilliance. He became renowned for his use of epines de porc—porcupine quills—which he painstakingly attached to stylized humanoids and figures. This laborious technique was far more than a mere decorative choice; the quills served as powerful symbols of resilience and strength within Mende cosmology. By allowing these sharp, white needles to protrude from his characters, Goba created a sense of protection around the figures, symbolically forbidding any unauthorized access to the secret, sacred core of the artwork.
The visual impact of his sculptures is further heightened by a bold use of color. After the meticulous process of quill attachment, Naissance applied industrial paints in striking hues of crimson, turquoise, and ochre. This deliberate juxtaposition of the raw, organic material of the quills against the vibrant, modern sheen of synthetic pigment created a mesmerizing tension between tradition and modernity. His sculptures were not merely static objects but dynamic narratives that blended time-honored tales with his own personal fantasies, often leaving the viewer to wonder about the private histories embedded within each piece.
As his technical mastery grew, Goba’s reach extended far beyond the borders of Sierra Leone. His unique ability to weave folklore into sculptural form earned him a place on the global stage, leading to participation in some of the world's most prestigious art forums, including the Venice Biennale and the Havana Biennial. These exhibitions cemented his status as a pivotal figure in contemporary African art, showcasing a vision that was simultaneously deeply local and universally resonant.
The significance of John Goba Naissance lies in his role as a cultural custodian who refused to let tradition remain stagnant. Through his hands, the symbols of Mende secret societies were revitalized for a modern audience, transformed into works of fine art that demand both reverence and curiosity. Though he passed away in 2019, his contribution to the sculptural landscape remains an enduring testament to the power of memory, ritual, and the transformative potential of the artist's touch.
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Yellarne — john goba naissance
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