In the realm of contemporary art, where the ephemeral often masquerades as the profound, Wangechi Mutu’s Preying Mantra stands apart, a piece that demands not just viewing but contemplation, not just contemplation but confrontation. This work, with its fusion of the grotesque and the beautiful, the mythical and the real, is a slap in the face to the complacency with which we often approach art, and indeed, life itself. The grotesque and beautiful elements are seamlessly blended together in the figure, challenging the viewer to reconcile the contradictions. Close inspection reveals intricately detailed textures and patterns inked across the body that draw the eye in for further examination.
Preying Mantra, like much of Mutu’s work, delves into the complexities of identity, particularly the female identity, and the cultural and historical narratives that shape it. But to say just that would be to grossly oversimplify what Mutu achieves in this piece. Here, she does not merely explore these themes; she lays them bare in all their contradictory, often uncomfortable, glory. The figure takes on aspects of both human and animal forms, with the head of a mythical creature and wings protruding from the back, yet the body maintains curves and features recognizably human and feminine.
The figure in the piece, a hybrid of human, animal, and machine, is both a deity and a demon, a symbol of power and subjugation. This is no passive subject of the male gaze, nor is it a straightforward emblem of feminist liberation. Mutu’s figure challenges the viewer to reconsider their understanding of femininity, of beauty, of power. It is an affront to the neat categories into which we often seek to place women, and indeed, all those deemed ‘other’ by the dominant discourses of society. Close observation reveals elements that could symbolize both power, such as the claws and fangs, and objectification, like the exaggerated curves of the body.
The wordplay inherent in the title Preying Mantra is highly significant and adds further depth to Mutu’s critique and commentary. On the surface, “preying” evokes a sense of danger, violence, and consumption that is reinforced by the monstrous, hybrid figure depicted. However, it also shares phonetic similarities with “praying,” alluding to religious or spiritual devotion.
This duality reflects the complex, contradictory nature of the figure as both a threat and an object of veneration. It also comments on the historical dynamics of power in which African and female bodies have been both preyed upon and exoticized in the Western gaze, as well as spiritually revered in some contexts. The title hints at the tense coexistence of these opposing forces.
The wordplay can also be seen as a play on the relationship between predator and prey. The figure maintains characteristics of both, challenging assumptions about such power dynamics. She both consumes and is consumed, praying and preying, in a cycle reflecting the intertwined nature of identity, representation, and the systems that seek to define them.
Mutu’s use of materials in Preying Mantra is also worthy of note. The piece, a collage of ink, acrylic, and a myriad of other media, is a testament to the complexity of its subject matter. The disparate elements are not harmoniously blended but coexist in a tense, dynamic relationship, mirroring the tensions inherent in discussions of identity, race, and gender. Layers of various textures and colors are visible upon closer inspection, with no single material dominating the work.
Moreover, Preying Mantra is a cutting critique of the historical objectification and exoticization of the female body, particularly the bodies of African women. Mutu subverts the traditional artistic narrative, reclaiming the agency of her subject in a way that is both empowering and deeply unsettling. The figure maintains an air of strength and power despite also clearly displaying aspects meant to elicit the male gaze, challenging preconceptions. The viewer is forced to confront their own complicity in the systems of power and representation that Mutu challenges.
The piece utilizes a mixture of Western and non-Western artistic traditions to fully dismantle preexisting modes of representation. Mutu draws from a range of cultural influences and artistic styles that do not typically intersect. In doing so, she comments on the hybrid and complex nature of modern identity while also critiquing the tendency to silo creatives and art within narrow categories.
Wangechi Mutu’s Preying Mantra is a powerful, provocative piece. It is a work that refuses to be ignored, that challenges the viewer at every turn. It is a searing commentary on identity, power, and the art world’s often superficial engagement with these concepts. Mutu does not offer easy answers; instead, she presents a complex, layered narrative that demands our attention and our engagement. The piece merits close study to appreciate its subtle complexities and multilayered symbolism.
