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Steve Bandoma

Sulger Buel Gallery I Steve Bandoma I Emotional King, 2018

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Steve Bandoma, Emotional King , 2018
Steve Bandoma, Emotional King , 2018
Steve Bandoma, Emotional King , 2018
Steve Bandoma, Emotional King , 2018
Steve Bandoma, Emotional King , 2018

Steve Bandoma

Emotional King , 2018
Acrylic and ink on Canson paper
145 x 105 x 5 cm (framed)
57 1/8 x 41 3/8 x 2 in
Series: Costumes Series
© Steve Bandoma
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Further images

  • (View a larger image of thumbnail 1) Steve Bandoma, Charges IV (The Lost Tribe Series), 2016
  • (View a larger image of thumbnail 2) Steve Bandoma, Charges IV (The Lost Tribe Series), 2016
  • (View a larger image of thumbnail 3) Steve Bandoma, Charges IV (The Lost Tribe Series), 2016
  • (View a larger image of thumbnail 4) Steve Bandoma, Charges IV (The Lost Tribe Series), 2016
  • (View a larger image of thumbnail 5) Steve Bandoma, Charges IV (The Lost Tribe Series), 2016
Costumes Series: The Costumes Series depicts Africans dressed either in the clothes of a ruling class or in traditional religious garb. In 'the Jihadist' I depict a man garbed in the elegant, sober costume as required by his religion. However, his posture and his accoutrements are not those of a normal, modest man. This series concerns an unprecedented loss of cultural identity on our continent often with disastrous consequences. Beneath the costume remains the man, but has his real persona been lost? Has this African consumed another? In 'The Emotional King ( Roi Emotif )' I consider how an African leader differs from an occidental one. The African is more emotional, less rational, despite pretending otherwise, hence the depiction of his organs being on the outside of his head. He is dressed in colonial-style clothes, but his nature cannot be disguised.
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Costumes Series:

The Costumes Series depicts Africans dressed either in the clothes of a ruling class or in traditional religious garb. In 'the Jihadist' I depict a man garbed in the elegant, sober costume as required by his religion. However, his posture and his accoutrements are not those of a normal, modest man.


This series concerns an unprecedented loss of cultural identity on our continent often with disastrous consequences. Beneath the costume remains the man, but has his real persona been lost? Has this African consumed another?


In 'The Emotional King ( Roi Emotif )' I consider how an African leader differs from an occidental one. The African is more emotional, less rational, despite pretending otherwise, hence the depiction of his organs being on the outside of his head. He is dressed in colonial-style clothes, but his nature cannot be disguised.

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