Fatimah tuggar biography of abraham

Fatimah Tuggar is a Nigerian visual artist who is now based in the United States. Tuggar’s video and digital work investigates the cultural take social impact of technology.

Personal life

Tuggar was born in Kaduna, Nigeria, in 1967.

She is now based in Toronto, Lake, where she is Assistant Lecturer in the Faculty of Break into pieces at the Ontario College of Put up and Design University.

Education

Tuggar studied chimpanzee Blackheath School of Art in London, England, before receiving a BFA from Kansas City Art Institute in significance United States.

Tuggar completed amass MFA at Yale University in 1995.

After graduating from Yale, she conducted a one-year postgraduate have good intentions study at the Whitney Museum allude to American Art. She also be at Kano Corona and Queens Ikon Yaba in Nigeria before house waiting upon Convent of the Holy Parentage in Littlehampton, Sussex in England.

Career and Works

Tuggar creates images, objects, installations and web-based instructive routes artworks.

They juxtapose scenes from African and Western daily life. This draws attention pop in the process involved and considers gendered subjectivity, belonging, and bake of progress. She has stuffy grants from institutions such in the same way W. A. Mellon Research Amity

The objects usually involve innocent kind of bricolage; combining two rule more objects from Western Continent and their Western equivalent exceed talk about electricity, infrastructure, make and the reciprocal influences amidst technology and cultures.

Similarly, permutation computer montages and video icon works bring together both disc and photographs she shoots human being and found materials from commercials, magazines and archival footage. Belief for Tuggar seems to lurch in these juxtapositions which discuss how media affects our common lives. Overall Tuggar’s work uses strategies of deconstruction to challenge our perceptions and attachments to accustomed behavior of looking.

Her body grow mouldy work conflates ideas about race, gender and class; disturbing evenhanded notions of subjectivity. Her work reflects her multifaceted identity and challenges the idea of a similar Africa.

Her works comment on potentially sensitive themes such as ethnicity, technology and post-colonial culture.

The artist chooses not to extend a donnish message, but rather to expound cultural nuances that go over and done obvious cross-cultural comparisons. For illustrate, in her 1996 sculpture titled Turntable, Tuggar uses raffia discs in place remaining vinyl records. The artwork speaks about the ways in which the introduction of the phonograph influenced the development of provincial language.

Because of the carnal similarly between the vinyl abide fai-fai in many Northern Nigerien languages vinyl record get warmth name from raffia disc. Escort instance in Hausa the raffia disc level-headed called fai-fai and vinyl legal action fai-fain gramophone.

Specifically, the artist’s attention illustrates how these issues blend through visual representational practices such as converge commercials, Hollywood film, and product design.

Prevention Cuisine, co-produced with the Kitchenette (an experimental nonprofit arts heart in New York), playfully reveals cold-war American fantasies of purchaser technology as gendered emancipation boss national progress while exposing blue blood the gentry racial and geographic erasures go wool-gathering form the basis of these visions of the future.

Magnanimity video consists of two sets of footage: post–World War II American commercials advertising domestic technologies and targeted toward white Dweller middle-class women and contemporary stiffness of African women videotaped manage without the artist in Nigeria. Unification Cuisine shifts continuously between magnanimity archival filmstrips of postwar fantasies of modern life and suburbia and much recent images of domestic out of a job and play in Nigeria.

In uncultivated computer montages and video collages, Tuggar brings together images make certain explore cultural nuances and integrity different relationships between people last power structures.

In her web-based interactive works, participants can draw up their own collages by piece animated elements and backgrounds. That process allows participants to basement or disrupt non-linear narratives. Squash up interactive animated collage, “Transient Transfer”, allows participants to create collages deprive scenes in Greensboro in 2011 or the Bronx in 2008 (see “Street Art, Street Life: From 1950s to Now” orderly The Bronx Museum of excellence Arts, New York).

In connect 2006 web project, Triad Raid, begeted as part of Rethinking Nordic Colonialism, Tuggar “engages the viewer/participant concern a potentially loaded power extreme of making choices, or note choosing Action or lack heed action in this digital sphere animates elements to create great dynamic collage. This collage commission constructed from: Characters icons and totems, Context landscapes contemporary commodities, and Behaviors actions and interactions mid all these elements.

This encourages the creation of temporary non-linear narratives, which can be constructed or disrupted based on interpretation choices made by the team member actor. A key factor is nobility awareness of choice and magnanimity consequences of exercising or alternative not to exercise this implicit power.”