Best known for her ‘Anatomy of Architecture’ series which began in 2016 and for being the artist who represented the United States at the 59th Venice Biennale, New York-based artist Simone Leigh poses much needed questions about cultural stereotypes. Both figurative and abstract, Leigh’s sculptures extend beyond the human form and manifests both personal experience and colonial narratives of societal history. As a female form emerges from a structured skirt made of raffia, Cupboard XI (Titi), 2020, blurs the lines between decorative and fine art whilst questioning the value of an object and the fetishisation of the female body, with an emphasis on the black body. In a world that is partial to iconoclasm, Leigh is rewriting the art historical cannon.

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