The latest work in Otobong Nkanga's series of unique woven textile pieces, Tides and Glitches forms part of the lexicon of Nkanga's monumental tapestry, Tied to the Other Side, the final edition of which is in the collection of MoMA, New York.

This work can be said to act as a storyboard for the larger tapestry whilst conjuring its own discrete visual and material world. It presents a microcosm of the themes, techniques and approaches explored in the larger tapestry channeled through its own intriguing prism, where the figurative elements are fragmented and abstracted.

The material complexity of the work is indicative of the scope of Nkanga's approach to the tapestry making process and her sensitivity to the varying qualities of the threads; some areas are tightly woven, others are muscular and sculptural, others are designed to unfurl to reveal a world of frenzied activity under the the surface.

Areas of hand stitching bring figurative elements into focus by bestowing them with a new dimensionality that exceeds the warp and weft of the woven ground, drawing together the panels of the diptych to hold them in powerful and poetic tension.

The latest work in Otobong Nkanga's series of unique woven textile pieces, Tides and Glitches forms part of the lexicon of Nkanga's monumental tapestry, Tied to the Other Side, the final edition of which is in the collection of MoMA, New York.

This work can be said to act as a storyboard for the larger tapestry whilst conjuring its own discrete visual and material world. It presents a microcosm of the themes, techniques and approaches explored in the larger tapestry channeled through its own intriguing prism, where the figurative elements are fragmented and abstracted.

The material complexity of the work is indicative of the scope of Nkanga's approach to the tapestry making process and her sensitivity to the varying qualities of the threads; some areas are tightly woven, others are muscular and sculptural, others are designed to unfurl to reveal a world of frenzied activity under the the surface.

Areas of hand stitching bring figurative elements into focus by bestowing them with a new dimensionality that exceeds the warp and weft of the woven ground, drawing together the panels of the diptych to hold them in powerful and poetic tension.

The latest work in Otobong Nkanga's series of unique woven textile pieces, Tides and Glitches forms part of the lexicon of Nkanga's monumental tapestry, Tied to the Other Side, the final edition of which is in the collection of MoMA, New York.

This work can be said to act as a storyboard for the larger tapestry whilst conjuring its own discrete visual and material world. It presents a microcosm of the themes, techniques and approaches explored in the larger tapestry channeled through its own intriguing prism, where the figurative elements are fragmented and abstracted.

The material complexity of the work is indicative of the scope of Nkanga's approach to the tapestry making process and her sensitivity to the varying qualities of the threads; some areas are tightly woven, others are muscular and sculptural, others are designed to unfurl to reveal a world of frenzied activity under the the surface.

Areas of hand stitching bring figurative elements into focus by bestowing them with a new dimensionality that exceeds the warp and weft of the woven ground, drawing together the panels of the diptych to hold them in powerful and poetic tension.

The latest work in Otobong Nkanga's series of unique woven textile pieces, Tides and Glitches forms part of the lexicon of Nkanga's monumental tapestry, Tied to the Other Side, the final edition of which is in the collection of MoMA, New York.

This work can be said to act as a storyboard for the larger tapestry whilst conjuring its own discrete visual and material world. It presents a microcosm of the themes, techniques and approaches explored in the larger tapestry channeled through its own intriguing prism, where the figurative elements are fragmented and abstracted.

The material complexity of the work is indicative of the scope of Nkanga's approach to the tapestry making process and her sensitivity to the varying qualities of the threads; some areas are tightly woven, others are muscular and sculptural, others are designed to unfurl to reveal a world of frenzied activity under the the surface.

Areas of hand stitching bring figurative elements into focus by bestowing them with a new dimensionality that exceeds the warp and weft of the woven ground, drawing together the panels of the diptych to hold them in powerful and poetic tension.