In an audacious display of creativity, Taiba Akhuetie is redefining the boundaries of artistic expression through hair. Set to showcase her work at the Sarabande Foundation in London, Akhuetie’s compelling installations transform everyday objects into thought-provoking art pieces, igniting conversations about identity, race, and the very nature of artistry itself. With a background steeped in the complexities of race and self-acceptance, her creations draw from a deeply personal narrative, merging beauty with a challenging commentary on societal norms.
A Childhood Fascination
From an early age, Akhuetie was captivated by the art of hair styling. Growing up in Kingston, Surrey, she would watch in awe as her “auntie” braided her sister’s hair, mesmerised by the dexterity of her fingers. Yet, despite her admiration, Akhuetie struggled with her own identity, feeling out of place in a predominantly white, middle-class environment. “I grew up feeling gaslit,” she reflects, as she navigated the insecurities that arose from comparing herself to her peers. This tumultuous relationship with her hair eventually shifted as she embraced the beauty of braids and their cultural significance.
The Birth of a New Medium
In 2014, Akhuetie, alongside friend Jessy Linton, launched Keash Braids, a business that seamlessly blended artistry with entrepreneurship. The venture grew out of a burgeoning appreciation for her craft, coinciding with a cultural resurgence of natural hairstyles among Black women. However, the onset of the COVID-19 pandemic forced her to adapt; with traditional braiding no longer viable, Akhuetie turned to her home, creating her first installation from leftover hair scraps adorned on a stool. “That’s when I realised I could really use this as a medium ‘off the head’,” she says, marking a pivotal moment in her artistic journey.
The Allure of the Unconventional
Akhuetie’s work, often unsettling yet undeniably captivating, challenges viewers to reconsider their perceptions of hair. Her pieces – ranging from an umbrella festooned with locks to intricately braided handbags – evoke a sense of confusion, prompting audiences to question the very essence of what they are witnessing. “I want people to be confused,” she admits. “I want them to think, ‘What? I don’t really understand how that’s hair.’”
This approach has caught the attention of the fashion elite, including Rihanna, who commissioned a bespoke braided handbag from Akhuetie. Yet, despite the allure of celebrity collaborations, Akhuetie remains grounded. “I don’t think you should fixate on celebrities,” she cautions, asserting that authenticity and artistic integrity should prevail over the desire for fame.
Exploring Themes of Identity and Race
At the heart of Akhuetie’s work lies a poignant exploration of race and identity. Her installations, such as a table adorned with resin beads evoking the beauty of Black women’s hair, provoke questions about cultural appropriation and the curiosity surrounding Black hair. “I want people to consider why they feel compelled to touch someone’s hair,” she states, drawing parallels to the slogan “Don’t Touch My Hair” that emerged during the natural hair movement.
Her upcoming exhibition, titled “The Tone,” encapsulates the myriad meanings of her work—ranging from racial undertones to personal narratives of self-acceptance. A striking centerpiece, a cylindrical patchwork of various hair types, invites contemplation on societal perceptions of Blackness and the ways in which these perceptions shape interactions.
Why it Matters
Taiba Akhuetie’s artistry transcends mere aesthetics; it serves as a powerful commentary on the intersection of race, identity, and the definition of art itself. By using hair—a medium often overlooked in the traditional art world—Akhuetie not only celebrates her heritage but also challenges viewers to confront their assumptions and biases. Her work affirms that creativity can emerge from the most personal experiences, reminding us that art is not confined to the gallery but can be found in the everyday, the mundane, and the deeply felt. As she boldly states, “I hope to show people who think this isn’t art that it actually is.”