Lynette Yiadom-Boakye

A Passion To A Principle

lynette-yiadom-boakye_01

Lynette Yiadom-Boakye, Installation view, A Passion To A Principle, Kunsthalle Basel, 2016. Courtesy the artist; Corvi-Mora, London; Jack Shainman Gallery, New York. Photo: Philipp Hänger/Kunsthalle Basel

lynette-yiadom-boakye_02

Lynette Yiadom-Boakye, Installation view, A Passion To A Principle, view on (f.l.t.r.) Pressure From A Didact, Witching Hour, Militant Pressures (all 2016), Kunsthalle Basel, 2016. Courtesy the artist; Corvi-Mora, London; Jack Shainman Gallery, New York. Photo: Philipp Hänger/Kunsthalle Basel

lynette-yiadom-boakye_03

Lynette Yiadom-Boakye, Installation view, A Passion To A Principle, view on (f.l.t.r.) Amber For Rubies, 2016, and Daydreaming Of Devils, 2016, Kunsthalle Basel, 2016. Courtesy the artist; Corvi-Mora, London; Jack Shainman Gallery, New York. Photo: Philipp Hänger/Kunsthalle Basel

lynette-yiadom-boakye_04

Lynette Yiadom-Boakye, Installation view, A Passion To A Principle, view on Harp-Strum, 2016, Kunsthalle Basel, 2016. Courtesy the artist; Corvi-Mora, London; Jack Shainman Gallery, New York. Photo: Philipp Hänger/Kunsthalle Basel

lynette-yiadom-boakye_05

Lynette Yiadom-Boakye, Installation view, A Passion To A Principle, view on (f.l.t.r.) A Culmination, 2016, and Magenta In The Ravages, 2016, Kunsthalle Basel, 2016. Courtesy the artist; Corvi-Mora, London; Jack Shainman Gallery, New York. Photo: Philipp Hänger/Kunsthalle Basel

lynette-yiadom-boakye_06

Lynette Yiadom-Boakye, Installation view, A Passion To A Principle, view on (f.l.t.r.) Tell The Air, 2016, and Heron, 2016, Kunsthalle Basel, 2016. Courtesy the artist; Corvi-Mora, London; Jack Shainman Gallery, New York. Photo: Philipp Hänger/Kunsthalle Basel

lynette-yiadom-boakye_07

Lynette Yiadom-Boakye, Installation view, A Passion To A Principle, view on (f.l.t.r.) A Culmination, 2016, and Magenta In The Ravages, 2016, Kunsthalle Basel, 2016. Courtesy the artist; Corvi-Mora, London; Jack Shainman Gallery, New York. Photo: Philipp Hänger/Kunsthalle Basel

lynette-yiadom-boakye_08

Lynette Yiadom-Boakye, Installation view, A Passion To A Principle, view on (f.l.t.r.) Waxwing, 2016, and The Matters, 2016, Kunsthalle Basel, 2016. Courtesy the artist; Corvi-Mora, London; Jack Shainman Gallery, New York. Photo: Philipp Hänger/Kunsthalle Basel

161118_kuhaba_lynette_poster

Lynette Yiadom-Boakye, poster for the exhibition, A Passion To A Principle, Kunsthalle Basel, 2016. Design: Guillaume Mojon

Exhibition text and related events  (PDF)
Press images (ZIP)

“Superhumans” in der Kunsthalle Basel, arteTV (11/2016)
Lynette Yiadom-Boakye in der Kunsthalle: So geht Malerei!, Tageswoche (11/2016)
Weder Opfer noch Helden, Basler Zeitung (11/2016)
Immer den Augen nach: Lynette Yiadom-Boakye in der Kunsthalle, barfi.ch (11/2016)
Lynette Yiadom-Boakye in der Kunsthalle Basel, Badische Zeitung (11/2016)
Kulturtipp, Radio X (11/2016)
Lynette Yiadom-Boakye: A Passion To A Principle, Mousse Magazine (12/2016)
Lynette Yiadom-Boakye // A Passion To A Principle, The Seen (05/2017)

In her first institutional solo exhibition in Switzerland, Lynette Yiadom-Boakye (b. 1977 in London; lives and works in London) fills the majestic, skylit upstairs galleries of Kunsthalle Basel with all new paintings, lush and vibrant reflections on perception, painting, and the figure. At once traditional in her approach to form, line, and color, and decidedly contemporary in her self-reflexivity about her medium, the British-Ghanaian writer, poet, and painter represents a bold and beautiful cast of black figures culled from the haze of memory, projection, and fiction. The goal is not formal perfection, or exactitude with regard to any real person, but another sort of precision, one that aims to, “make people intelligible through paint.”

As she has explained: “Although they are not real I think of them as people known to me. They are imbued with a power of their own; they have a resonance – something emphatic and otherworldly. I admire them for their strength, their moral fiber. If they are pathetic, they don’t survive; if I feel sorry for them, I get rid of them. I don’t like to paint victims.”