Mvondo Mask 1900 - 1925

Editor: Here we have a Mvondo Mask, created between 1900 and 1925 by the Lwalwa people. It’s a wood sculpture at the Minneapolis Institute of Art. The metallic look makes me think of a sort of rugged helmet, not the face I usually expect to see in a mask. What catches your eye? Curator: Its construction. Note the planar facets which compose the form. Each section is delineated and joined, creating a palpable sense of structure. Consider the way the brow-ridge and nose project—a manipulation of planes creating distinct volumes. Editor: So it’s less about what it represents and more about how it’s built? Curator: Precisely. Focus on the materiality – the very texture of the wood, its coloration. This gives you insight. How does the artist achieve depth with such a limited palette? The rough, almost crude assembly, the riveted look. What feelings do they evoke? Editor: I see. The slightly awkward placement of features gives it a handmade quality, it also affects the overall angular aesthetic. So it’s more about analyzing these design decisions rather than guessing what the mask means to the Lwalwa people. Curator: Indeed. Our concentration remains within the object's own visual language. This rigorous focus on form enables a profound appreciation for the aesthetic choices made. What have you noticed now? Editor: I appreciate its solid construction more now that you've pointed it out; its planes remind me of cubist sculptures. It really spotlights how construction is a powerful communication tool. Curator: And I have been made freshly aware of the links between modern Western movements like Cubism and this Indigenous artwork. Thank you for your perspective.