Notes

Mustafa Maluka is well known for his bold, large-scale portraiture: head and shoulder portraits that are a striking marriage between art historical canon and street culture edge. His sitters are imaginary, inspired by images Maluka has found in a magazine or the internet, and ambiguous in their origin, race and, sometimes, gender. This ambiguity, paired with artwork titles that are pulled from song lyrics, allows for the discussion of cultural identity and migration, which are particular interests for Maluka.¹ These interests are drawn from his own experiences as a global citizen, of being born in one place and raised in another, of navigating different cultures and languages. The people he depicts are ‘citizens of the world whose home is not a specific place, seemingly on an endless quest, yet at home everywhere’.² In the present lots, Maluka’s sitters stare out at the viewer, their eye contact inviting conversation, which allows the viewer to become an active participant in Maluka’s world. 

1.  Zidoun Bossuyt. (2013). Available: http://www.zidoun-bossuyt.com/exhibition-maluka-mustafa-174.htm

2. Ibid