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This installation is an homage to Jean-Honoré Fragonard's 18th century painting 'The Swing.' It is considered an iconic work of the Rococo period of art. In Fragonard's piece, a woman sitting on a swing in an extravagant pink dress is pictured kicking off her shoe, while two men look up her skirt below. In Shonibare's piece, her head is removed, and her dress is replaced with his signature Ankara fabric. As the two men are not included, the viewer is invited to become the voyeur, and thus becomes directly implicated. This piece can be seen as a critique of the sexualisation of African woman, and the way that their bodies have been paid tribute to, without materialising into any lasting change. The mannequin's head being severed is both an allusion to the fate of Marie Antoinette (26 years after The Swing was painted, Marie Antoinette was beheaded, hence the title) and the consequences of Rococo opulence, and enforcing the themes of the simultaneous dehumanisation and hyper-sexualisation of black women during the colonial era.

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The title of this piece is taken from the Alfred Hitchcock film North by Northwest (1959)

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How Does a Girl Like You Get to Be a Girl Like You? (1995)

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How Does a Girl Like You Get to Be a Girl Like You? (1995)

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In this piece we can see a recurring theme in Shonibare's work, that being the juxtaposition of Nigerian and English cultural motifs. While the structure of the dress is modelled after dresses of the Victorian era, the fabric used is Ankara fabric purchased by Shonibare from Brixton market. While one would assume these fabrics are African in origin, they are actually Dutch, produced initially for the Indonesian market. While the origins of this fabric are in ironic embezzlement and colonial trade, they have been reclaimed as a symbol of pride by African youths. There have been other spins on this concept, such as the Vivienne Westwood 1981 'Pirates' runway show, wherein the structures of aristocratic gowns were combined with everyday British textiles. However, what separates Shonibare's work is the emphasis on the conflation of culture, and where one culture ends and the other begins.

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Yinka Shonibare was born to Nigerian parents in London, 1962. He lived in Nigeria for 14 years, before moving back to England. His experiences in both countries has influenced his art, which focuses on themes of colonialism and race.

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How does the artist reveal, uphold, or challenge ideas about identity? 

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How does the artist reveal, uphold, or challenge ideas about identity? 

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Many of Yinka Shonibare's works consist of figures performing stereotypical actions. They could include bad, good or just mundane activities. Yinka Shonibare had a unique style of not including race in his works of art. However, the roles that his characters play can be seen to fit a specific type of person. This is his method of protesting that people have certain expectations of different genders and races without needing to mention them.

In addition, through his own disabilities and not being able to perform as a man stereotypically should. He has a close connection to his works.

He is also often revealed issues that were present in colonial times. He presents a conflict between races as two characters in different clothing colours that represent different backgrounds

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Artist's choices: Yinka Shonibare chose to portray his message through this Mannequin figurine. The head has been replaced by a globe that could signify any race. However, the figure and clothing of the character have been made to distinctly represent the female gender.

Issues addressed: The primary message that Yinka is trying to convey is the stereotype that any Woman around the globe carries and is forced to follow. In this case, the art is portraying how a woman is trying to use a gun but is not able to use it in the proper way. It is indicating that women are not meant to defend themselves/or are too weak to do so. How their main purpose is to help and "shoot love and affection" which is represented by the flowers. Yinka challenges this through his sculpture.

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Artist's choices: By removing the heads of the figures, we can't decipher the two specific races.
Alternate personalities can be assumed through the colours worn that act as flags.

Issues addressed: The issue that can be seen presented is a type of identity forcing their ideology upon another that doesn't willingly accept it which is leading to conflict. In the background, the "brains and blood" of the character is representing their own thoughts and feelings that summarises their individualism.