Nick Cave’s Soundsuits are amazing. The sculptural pieces blend culture and fashion in the most intriguing way. His very first Soundsuit was born out of the horrific Rodney King beating in 1992. It was then that Cave, faced with an American conflict that dealt with issues of race and gender, created his first suit that sought to mask those things. But instead of a mask, his first suit made intriguing sounds and he went on to create more. To us, they are much like the fantastic regal costumes that the Indians wear in New Orleans during Mardi Gras. They are bright and eclectic pieces of Black cultural expression in the form of a suit. Cave’s Chicago loft is also expressive. Showcasing his own work, and pieces by his counterparts including Kehinde Wiley, John Kirby, and Lynette Yiadom-Boakye, his home is an art-lover’s dream.
Pieces from the African Diaspora are represented throughout Cave’s home. Each room is a discovery, featuring unexpected pieces that are sure to intrigue. In the living room, an artistic display of porcupine needles from the Cameroon form a creative divider, separating seating areas. In the hallway, a large-scale piece by Kehinde Wiley, framed in black, echoes the black leather bench below.
It’s clear that this artist likes to be surrounded by pieces that have meaning to him. Down the hall and into the home’s guest bedroom, Cave has amassed a collection of trunks, boxes and black and white photos. Above a green cabinet, a piece by John Kirby is arresting. The British painter is known for his work that explores gender, religion, sexuality and race. And another piece by a British artist, Lynette Yiadom-Boakye, who lives in London and is of Ghanaian descent, hangs on the bedroom wall.
Among the unique pieces – a Yoruba chair, a maze of wall art, a menagerie of collected pieces, Cave’s home is an intriguing combination of elements just as magical as his Soundsuits.