“Fly Girl” (2016), shoes, wire, and screws on a metal stand, 65.5 x 15.5 x 15.5 inches. Photo by Joerg Lohse
Artist Willie Cole juxtaposes readymade footwear and African tradition in his series of sculptural masks. The figurative assemblages stack women’s heels into clusters that are expressive and distinctly unique, an effect Cole derives from the shoes’ material, color, and pattern rather than a preconceived plan or sketch. Depicting exaggerated toothy grins, pointed brows, and outstretched tongues, the sculptures span more than a decade of the artist’s career and influence a new collaboration with Comme des Garçons that’s comprised of headpieces made with black pumps.
Each piece is layered with cultural and societal markers, including those that comment on mass consumerism, fashion trends, and notions of femininity. This context is situated in time and place, which Cole describes as “a subtle catalyst for perception. I have discovered that high heels purchased in New York are very different than high heels purchased in Georgia,” he says. Cole explains:
I guess you could call the high heel both an anxious object and a readymade aid. ‘Anxious’ because as a symbol, it is fully loaded with history and a story all its own even as just a shoe. ‘Readymade aid’ because that history adds so much to your interpretation and/or reaction to these pieces. As for fashion, these pieces speak about the abundance of discarded high heels in the world as well as the various styles and trends.