Melvin Edwards – ‘Sekuru Knows’ from the Lynch Fragment series 1988. Steel Sculpture.
I chose this artwork for discussion simply because it intrigued me and made me want to ask questions. Was it a representation of identity or was it just object art? I had previously never encountered Edwards work before and I wanted to know more. This small, wall mounted sculpture appears to be crafted from found items. There are large scissors or shears dominating the foreground of the piece, sharp blades weaved between a thick chain and a shackle. The metal appears black, completely void of colour. I feel a lot when I look at this piece of Modern Art. I feel cold from the steel itself but also from the subject matter and its representation of slavery. The horror within history of people being kept in chains. I also feel heat from this work. The heat of the metal being forged together, fire, sweat, hard work not only from the artist but the heat of the hard labour felt by slaves across America. Keeping the sculpture one colour allows all the objects within it to become one entity. I read that each sculpture in this series is roughly the size of a human head allowing it to confront the viewer. The pieces almost become mask like in their form. I had to look up the word ‘Sekuru’ which comes from Zimbabwe and can either mean, Grandfather/Uncle/Cousin or Respected Elder. Now this sculpture has an identity and is no longer just an object in Modern Art.