Kehinde Wiley’s thought-provoking film installation, ‘Narrenschiff’ (2017), served as a powerful Prelude Prelude to his ongoing exploration of historical and contemporary themes. This earlier work, a modern response to the 15th-century Ship of Fools allegory, poignantly depicted young Black men at sea, struggling towards land – a potent metaphor for migration, isolation, and societal displacement, issues that resonate deeply today. Building upon these foundational themes, Wiley’s current exhibition at the National Gallery expands his artistic dialogue, presenting five compelling paintings and a six-channel digital film installation. This exhibition delves into the heart of European Romanticism, examining its dramatic portrayals of oceans and mountains, and humanity’s complex relationship with the natural world. In doing so, Wiley subtly yet powerfully touches upon pressing contemporary concerns, including climate change and the ongoing global migration crisis.
A particularly striking segment of Wiley’s film project features Black Londoners encountered and cast directly from the vibrant streets surrounding the National Gallery. These individuals were then taken on an immersive journey to Norway, where they experienced the breathtaking grandeur of fjords and glacial landscapes. Mountains, in the Romantic imagination, often embody duality. They can represent challenges to be overcome, symbols of conquest and human ambition. Conversely, they stand as impenetrable fortresses, the Earth’s loftiest points, perceived as closer to the heavens and associated with ideals of virtue, rationality, purity, and divinity. In Wiley’s film, aptly titled ‘In Search of the Miraculous’, the Black protagonists, both men and women, navigate this duality. They are shown at times dwarfed by the overwhelming scale of the snowy environment, almost dissolving into the pervasive whiteness of the landscape. At other moments, they command the scene, contemplating nature with a profound sense of respect and inherent dignity. Wiley’s paintings further echo this Romantic sensibility, referencing the iconic wanderer figure, a solitary individual in pursuit of spirituality and profound self-discovery amidst nature’s vastness.
Historically, marine painting in Europe has been inextricably linked to narratives of maritime dominance. Traditional depictions frequently celebrated imperial ventures, voyages of exploration, and consistently emphasized the strength and valor of seasoned (typically white) seafarers, or the commanding leadership of (white) naval officers. Wiley’s artistic vision offers a significant departure from this established perspective. In his work, oceans are not merely backdrops for heroic tales, but are presented as dynamic, unpredictable, and even volatile forces. They are portrayed as irrational and unreliable, yet simultaneously, they serve as crucial trade routes, pathways for movement, and routes of escape towards the promise of a better life. Furthermore, Wiley’s oceans become symbolic sites, representing the remnants of a fading imperial era.
Located in the prestigious Sunley Room, at the very core of the National Gallery’s esteemed collection, this free exhibition forges a compelling dialogue between Wiley’s contemporary art and the Gallery’s rich holdings of historical landscapes and seascapes. By placing Wiley’s pieces in conversation with masterpieces by masters such as Claude, Friedrich, Turner, and Vernet, the exhibition illuminates the enduring relevance of Romantic themes and artistic techniques in our contemporary world. Wiley’s work acts as a powerful prelude prelude to a renewed understanding of these historical artistic movements, viewed through a modern lens that embraces diverse perspectives and confronts critical contemporary issues.
