Photograph of 'Lupae Luxe' a lamp by Tai Shani. Pale pink glass breasts in different sizes are clustered together with bright red cords and lighting fixtures, arranged to hang down from a cloth bound red loop.  This photograph shows the lamp switched off.

Tai Shani

Lupae-Lux, 2024

£3,600

Hand blown glass pendant light by Tai Shani, exclusive to House of Voltaire

Edition Size

15

Dimensions

65 x 40 x 40 cm

Finishing

Hand-blown glass with cast steel fixings and lighting components

Each edition is made to order by the artist with a lead time of approximately 2-4 weeks

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    Photograph of 'Lupae Luxe' a lamp by Tai Shani. Pale pink glass breasts in different sizes are clustered together with bright red cords and lighting fixtures, arranged to hang down from a cloth bound red loop.  This photograph shows the lamp switched on, the bulbs glowing gently through the translucent glass, set against a dark grey background.
    Photograph of 'Lupae Luxe' a lamp by Tai Shani. Pale pink glass breasts in different sizes are clustered together with bright red cords and lighting fixtures, arranged to hang down from a cloth bound red loop.  This photograph shows the lamp switched off and includes the full length of the cable and plug, which is designed to be plugged into a UK three pin socket.

    Courtesy the artist and Turner Contemporary

    About The Artwork

    Lupae-Lux is an industrial rococo lamp named ‘she wolf light’, in reference to sculpture of the wolf that suckles the twins Remus and Romulus, the twins were a later medieval addition to the famous statue. A French edition poster for Fellini’s Roma depicts a woman in the same pose as the wolf with multiple breasts, the tagline is “Rome is a beautiful place to wait for the end of the world”. Each light is assembled by the artist using glass breasts, hand-blown by a master glass blower.

    About Tai Shani

    Oscillating between theoretical concepts and visceral details, Shani’s texts attempt to create poetic coordinates in order to cultivate fragmentary cosmologies of marginalised nonsovereignty. Taking cues from both mournful and undead histories of reproductive labour, illness and solidarity, her work is invested in recovering feminised aesthetic modes – such as the floral, the trippy or the gothic – in a register of utopian militancy.

    In this vein, the epic, in both its literary long-form and excessive affect, often shapes Shani’s approach: her long-term projects work through historical and mythical narratives, such as Christine de Pizan’s allegorical city of women or the social history of psychedelic ergot poisoning. Extending into divergent formats and collaborations, Shani’s projects examine desire in its (infra-)structural dimension, exploring a realism that materially fantasises against the patriarchal racial capitalist present. 

    Tai Shani is the joint 2019 Turner Prize winner together with Lawrence Abu Hamdan, Helen Cammock and Oscar Murillo. Her work has been shown extensively in Britain and internationally.