Fiegnon
1 of 2
Object Label
ART OF PORTRAITS
While Western artists have historically often attempted to represent a person exactly how they look, many African artists instead have created portraits based on a specific physical or personality feature of the subject.
This terracotta head, most likely depicting the oni, or king, of ancient Ife, shows that Yoruba sculpture was already highly developed a thousand years ago. Ife court art interprets the human figure with extraordinary naturalism. This head, however, is not intended to be truly representational or realistic. It shows the oni in the prime of life, with no imperfections.
Fiegnon is composed chiefly of a discarded oil jerry can. Although Fiegnon may appear to resemble a mask, Romuald Hazoumé has noted that his works are, in fact, portraits—of particular individuals or of social types. With its long braids, this work represents a Fulani man Hazoumé met fishing in the lagoon where he found the oilcan.
The striking differences in style and materials in these two portraits may also reflect a marked gap in status and power between their two subjects.
Caption
Romuald Hazoumé Beninese, born 1962. Fiegnon, 2011. Plastic, fiber (possibly synthetic), metal (copper wire), 11 x 8 x 8 1/2 in. (27.9 x 20.3 x 21.6 cm). Brooklyn Museum, Caroline A.L. Pratt Fund, 2014.32.2. © artist or artist's estate (Photo: Brooklyn Museum, 2014.32.2_front_PS9.jpg)
Gallery
Not on view
Collection
Gallery
Not on view
Collection
Artist
Title
Fiegnon
Date
2011
Medium
Plastic, fiber (possibly synthetic), metal (copper wire)
Classification
Dimensions
11 x 8 x 8 1/2 in. (27.9 x 20.3 x 21.6 cm)
Signatures
Signed with black felt tip marker on the inner proper left edge, "Fiegnon 2011 H2HA 2000"
Credit Line
Caroline A.L. Pratt Fund
Accession Number
2014.32.2
Rights
© artist or artist's estate
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Frequent Art Questions
Who is “Fiegnon”?
"Fiegnon" by Romuald Hazoumé is a portrait of a Fulani man he saw fishing at the same location he found the can that makes up the head of the figure, giving it an added connection to the individual.Hazoumé's work responds to Western stereotypes of African traditions and also references the global oil market and the implications of consumerism that shape our lives today. He has said: “I send back to the west that which belongs to them, that is to say, the refuse of consumer society that invades us every day,”Who is this supposed to be?
"Fiegnon" is composed chiefly of a discarded oil jerry can. Although the work may appear to resemble a mask, the artist Romuald Hazoumé has noted that his works are, in fact, portraits—of particular individuals or of social types. With its long braids, this work represents a Fulani man Hazoumé met fishing in the lagoon where he found the oil can.I see.The artist lives and works in Benin. The Fulani are one of the largest and widely dispersed Muslim ethnic groups in West Africa. I love that work for its simplicity; with just a few manipulations, it produces an individualized portrait out of something so discardable. It's—no pun intended—uncanny!
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