William Villalongo
Stranger Fruit, 2006
Porcelain, velour, rhinestones, Pleiglas, wood
13.875 x 8 x 8 in.
This is part of a larger series of composite sculptures I have cobbled together from kitsch objects purchased at local flea markets, Stranger Fruit shows a kneeling Chinese maiden with...
This is part of a larger series of composite sculptures I have cobbled together from kitsch objects purchased at local flea markets, Stranger Fruit shows a kneeling Chinese maiden with the head of a Black male in hand. The history of “Moor” and “Oriental” figurines dates to the 18th century when European porcelain makers, such as Meissen, supplied the European aristocracy with decorative reminders of the global reach of their power. Though originally rendered in precious materials and with exquisite craftsmanship, today these small figurines are mass-produced as kitschy decorative curiosities. My mother loves these tchotchkes, particularly the newer versions with an Afrocentric twist. I'm interested in how the historical trajectory of these objects converges with colonialism. For me, Stranger Fruit is about appropriated worlds being sold back to the appropriated, at a discount.
