Size can make a Difference!!

In Swahili Kubwa Mvulana (KM) means “Big Boy”, the name I gave to my favorite Fang Bieri (Byeri) figure. In keeping with the Fang principle of “Balance of Opposites” KM seemed pretty content with his lot, but I sensed as a sculpture he had a lot more potential.

Image

KM (middle) hanging out with pals

I found KM in November of 2012, sans belly-button and genitalia – the belly button was a due to a recent break, while there was a 2 inch drilled cavity where his manhood should have been. There was actually some deterioration within the cavity (which required filling) and ultimately led to the following pictoral “famine to feast” or “rags to riches” story.

KM - Before & After!!

KM – Before & After!!

It’s not surprising to find the genitalia removed from Bieri or Dengese sculpture. The problem with restoring pieces is that one tries to develop a consistency of form, age, and cutting style. This is an expensive and risky process, but when it works it is well worth the effort.

Shaping the Belly-Button

Shaping the Belly-Button

Hexagonal Approach

Hexagonal Approach

Operating Table

Operating Table

Belly-Button insertion!

Belly-Button insertion!

Belly-Button Inserted, "Aged", & Stained!

Belly-Button Inserted, “Aged”, & Stained!

Plugging cavity to stop rot and to keep insects out.

Plugging cavity to stop rot and to keep insects out.

Glued & Attached with pins!!

Glued & Attached with pins!!

KM smiling on the inside!!

KM smiling on the inside!!

Collector’s Log : Star Date 12/07/11 3:00am

I purchased a BandSaw in the summer of 2011; actually I purchased a couple (both used), just a day apart. The first was a neat little Delta 1/5 HP piece of delicate machinery, a woodworking dilettante as it were, which I quickly figured was simply a life-lesson in bad spend. The second (at half the price of the first) is a Sears 1HP pugilist which has proven it can go the distance, while at the same time not requiring a PHD thesis to understand. The more astute craigslist reader would recognize the implication of referring to one saw using ‘was’ versus ‘is’.

The first eureka moment was being jolted awake with the realization that I could possibly create the mounting bases which I absolutely admire, (say eight degree bevel), by using the tilt head capability on the band saw. Now, while this leap of architectural creativity may seem miniscule to some, one should keep in mind that my workaround was to have a straight edge base with a beveled top edge, (yes, I had purchased a router with attendant tips). This is where the Mangbetu came in.

Mangbetu : Off-center beveled,mount

Having received several pieces of African Tribal Art and Statuary the prior week, it seemed strange that two pieces were (disconcertingly) not centered. My first idea of course was to cut (surgical gene, using the newly “discovered” technique) the offending side of the mount, sand, repaint, and gloss. Unfortunately the piece would then lose some character. The base itself showed some age, and wear, which I preferred to retain. The next option was to move the mounting pin a half-inch to the right, a simple but effective alternative. Truth be told I would have cut the base, but there are rules when living in an apartment building, and revving up the band saw at 3:30 am is never a good idea.

Mangbetu Statue : Female

Fortunately I did spend some time looking over, and cleaning the Mangbetu. I discovered a couple filled-in spots, which were fine, not detracting from the general appearance. What was surprising was that I began to tick off a couple “art appreciation” points. To be brief, the feet, calves, and legs are thick in the cubist style, nice mature figure and stomach, broadening of the upper arms and shoulders, thick neck, contoured chin, proud uplifted heaven directed stance. The other main observation was that most of the extensive Mangbetu scarification was cut or “grooved” versus keloid “raised”, (see Dengese). From the following description this is a painful process.

In the Bamileke country, in southern Cameroun, the artist uses three instruments: a long iron needle, a knife with a wooden handle and a curved blade, and a triangularly shaped native razor. The design is first traced lightly with the knife, then touched up with the razor or needle; the needle is inserted into the marked area of the skin to raise it, and the necessary amount of flesh is then cut away with the razor.

6:45am time to get moving.

Finding Dengese

 

The crazy thing about collecting African art, (or anything for that matter), is the inexhaustible thrill of both the hunt and the acquisition. The week ending 102211 was a good week simply because I finally managed to purchase a Baule monkey statue. “In Baule culture, cupbearing monkey statues, commonly known as “gbekre” since their first mention in 1900 by Maurice Delafosse, belong to the category of amwin, or “objects of power”. They were used by men-only initiation societies for a number of purposes, both functional – as a basis for prophylactic practices, linked to agrarian rites or to a form of divination known as mbra (Bouloré in RMN, 2000: 107 et Vogel, 1997: 221-230) – and iconographic, each type being designated by a specific term (aboya, mbotumbo, ndyadan, gbekre…) ” Sotheby’s[1].  I can only say that I’ve been looking for a decent one for a long time.  Typically the “Mbra” has elongated lower jaws and a very aggressive appearance, but  as I’ve found in collecting African tribal art, the 80/20 adage holds quite well. “The Mbotumbo (Ape god of the Baule), is the person’s special protector, but cannot be purchased in the market (like the Ibo do with their Ikenga), since certain conditions (eg. supernatural signs), must be observed.”[2] This piece is a real twist on the more familiar Baule masks which typically promote harmony, and happiness, (Mblo, Goli masks).

Baule Monkey Statue : Mbra, Gbekre

As luck would have it, I purchased a couple other items in the lot as well. One item shown below was new to me. What I did recognize however was the shape of the “coiffure” or hair-cut, which seemed very similar to those of the Kuba masks, used in Kuba creation masquerades. The Kuba live in the Democratic Republic of the Congo. Using this information I was able to finally “track”, and identify the piece using the reference The Tribal Arts of Africa.

Dengese : King Figure (Isikimanji)

 

The Dengese figure is attractive for two reasons,

1) the fact that they have no legs, and

2) the scarification on the figure is very extensive.

The headdress, a distorted cone, represents the one placed on the king’s head during his installation and symbolizes understanding, intelligence, distinction, respect, and unity among chiefs. The placement of the hands on the belly refers to the common origins of the king’s subjects, from which he anticipates cooperation. Numerous symbols are carved on the neck and on the elongated torso and arms in imitation of scarification patterns. The patterns allude to aphorisms and praise phrases that encode the mysteries of Dengese chiefly authority.”[3]