THE STALLION MYTH is a provocative dissection of the colonial gaze and the persistence of racial sexualization.

The work questions the boundary between scientific myth-making and contemporary visual culture by deconstructing one of the most persistent archetypes: the hypersexualization of the Black male body.

For centuries, this stereotype has circulated at the intersection of colonial imagination, racial ideology, and erotic fantasy.
During the colonial period, European narratives often portrayed African men as primitive and hypersexual beings.

Pseudoscientific claims and sensational travelogues reinforced the idea that Black masculinity was defined by exaggerated sexual potency.

The artwork functions as a visual archive of prejudices. Where 19th-century anthropology (such as that of James X) reduced the Black man to a “bestial” curiosity to justify a hierarchy of civilization, the modern porn industry perpetuates this objectification under the guise of entertainment.

It exposes this continuity: the “stallion myth” is not a relic of the past, but an active force in our collective psyche.

Materiality and Symbolism:

The use of semi-natural rubber latex (condoms) combined with synthetic alkyd resin creates a fascinating tension between the carnal and the sterile.

The colorful, translucent composition inevitably evokes associations with stained glass windows.

This sacred aesthetic compels the viewer to an almost spiritual contemplation of a subject often relegated to the margins of vulgarity.

Confronts this persistent narrative by transforming the male condom—an object associated with intimacy, protection, and sexual performance—into a luminous sculptural field. The colored latex elements, cast in translucent resin, evoke the visual language of stained glass windows. The result is a paradoxical object: both playful and sacred, humorous yet critical.
By freezing these fragile materials into a permanent structure, the work reflects on how myths about race and sexuality become culturally fossilized.

By making the work 360° rotatable as a mobile installation, the artist emphasizes the variability of perspective.
The myth is not static; it rotates, changes light, and continues to follow the viewer, regardless of the viewing angle.
The rotating circular form suggests a cycle in which stereotypes are endlessly reproduced, questioned, and reinterpreted.

The work invites the viewer to reconsider how bodies are depicted, racialized, and mythologized within both historical discourse and contemporary visual culture.

Specifications:
Medium: Semi-natural rubber latex, synthetic alkyd resin, steel.
Dimensions: 70 x 70 x 2 cm.
Features: Unique, 360° rotatable.
Price upon request.