Scream/Refugee 2017

Editor: So, this is Laolu Senbanjo's "Scream/Refugee," a mixed-media piece from 2017. It’s visually overwhelming with all these patterns and symbols, yet the figure at the center draws my eye. The name juxtaposes the idea of a scream with that of a refugee, but what connections do you see between these concepts in this work? Curator: The artist brings together the primal scream, often understood as an expression of intense personal pain, with the politically charged identity of "refugee". Look at how Senbanjo employs elements of graffiti art and pop art; these accessible visual languages bring the topic into the everyday. Notice the contrast between the recurring image of world leaders like Trump and Obama placed next to the central figure, painted in the style reminiscent of indigenous patterns? Editor: Yes, the placement seems to invite comparisons... Why include images of public figures? Curator: It positions individual suffering, as encapsulated by the refugee experience, against the backdrop of global politics and power structures. It suggests how figures in authority influence – or fail to influence – the refugee experience. Also consider, why use such vibrant colors in a painting referencing such displacement? Editor: Maybe it's to emphasize resilience in the face of adversity? The visual motifs, even things like passport stamps, blend to make identity ambiguous yet present. Curator: Precisely. The work encourages us to examine the relationship between public perception, political action, and individual experience. It's not just a depiction, it’s an engagement with social narrative. Editor: I see the art isn’t just about showing an image, it is an active participation. Thank you, I've definitely learned a lot. Curator: Indeed, art serves as a potent vehicle for stimulating dialogue. Reflecting on how such visual components intersect opens our minds to a bigger picture.