But you don’t need to see limbs sinking in these fermented oceanic pigments to feel the foreboding. The colours alone create her installation’s eerie threat. Perry’s video version of this macabre seascape removes the pictorial elements – there are no bodies, no ship. Nature is merciless to victim and criminal alike. A fiery, sickly, morbid sky blazes with red and gold menace as purple clouds mass over the sailing ship, which looks as doomed as the people it has murdered. Sharks race towards helpless flailing people as their chains weigh them down.
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The glowing, roiling water is full of bodies – bobbing, struggling, sinking. Inspired by the Zong, a slaver whose captain, in 1781, cynically threw sick members of his “cargo” overboard for the insurance money, it is a tumultuous vision of massacre and mayhem on the high seas. Turner’s canvas is the most harrowing and damning ever painted of the horrors of the Atlantic slave trade. Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On (Slave Ship) by JMW Turner, 1840. Her installation is called Typhoon Coming On, and is an uneasy 21st-century remake of Turner’s 1840 masterpiece, often known simply as Slave Ship, but called by him Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On. This is not merely any Turner seascape she has animated.
As I move along the video walls that cover three sides of the Serpentine Sackler Gallery, the colours of this mighty ocean – yellow, red, greasy brown, forming a thick, warping surface that bubbles with unhealthy blobs like nodules of hard bacon fat – it is abundantly clear that Sondra Perry’s installation has something to do with the art of JMW Turner.įor her first solo exhibition this side of the Atlantic, this young African American artist has reinvented Britain’s greatest painter for the digital age, transforming one of his most powerful paintings into an apocalyptic, seething video spectacle of stormlight and doom-laden waters. T he sea churns and swirls around me, vast, foam-flecked, lurid.
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