One of Shonibare's newest outdoor sculptures, Bronze Textile I expands the artist's interest in freezing a moment in time and sculpting the impossible–giving form to the wind. Measuring 1.5 meters tall and constructed of hand-painted bronze, the work transforms a material typically used for Eurocentric public monuments into a weightless, billowing piece of cloth. Its undulating abstract form monumentalizes the wind as a metaphor for the movement of people across the Globe, and by extension, histories of slavery, migration, colonialism, and empire.

This content is further visualized through the vibrant hand-painted pattern that covers the surface of the sculpture–evoking the artist’s signature Dutch wax fabric. These textiles are a recurrent motif in Shonibare's practice due to their rich and complicated history. Often misinterpreted as “authentically” African, Dutch wax textiles originated when the Dutch appropriated Indonesian
Batiks and mass-produced their own version in the Netherlands. After failing to hawk their ersatz wares back in Indonesia, the Dutch sold them instead in West Africa, where they ultimately became ubiquitous. These embedded contradictions have made Dutch wax cloth the perfect vehicle for Shonibare to ignite lively visual conversations about our multi-layered identities and global interdependence for over 30 years.