Yinka Shonibare’s art installation The Swing (after Fragonard) is a life-sized, three-dimensional adaptation of Fragonard's famous painting. Let’s look at some design elements and artistic principles of the installation to help you get started on this question.
We might note that the piece is strongly defined by the straight, vertical lines of the taut ropes of the swing. They run perpendicular to the mannequin’s leg as it stretches gracefully out into thin air and create a visually interesting sense of directional disunity.
The work is colorful and features careful contrast between the warm palette of the mannequin’s clothing and the muted greenery surrounding her. The value of the color can be changed by lighting and is affected by the shadows. There is a decided contrast, especially, between the light ropes and the comparatively deeper hues of her garments and the backgrounded greens.
In terms of texture, we might compare the smoothness of the garments to the visible roughness of the ropes and the complex tangle of greens beneath them. Because the piece is formed three-dimensionally, the installation is influenced by the blank space that surrounds it. The visual tumult of the woman, mid-swing, the flounce of her dress, a shoe captured aloft—all the elements of a moment trapped in time—are influenced and emphasized by the quiet blankness that backgrounds the vibrancy of the scene.
In terms of unity, we may look to elements of disrupted expectation. The mannequin has lost her shoe—it is suspended in air, adrift from where it belongs. More immediately, we notice the mannequin's missing head, a feature that deliberately undermines the unity, balance, and proportion of the piece.
The installation contains a great deal of rhythm or movement as well. It appears as if the mannequin could start moving at any moment; this charged moment is caught mid-motion, and it appears that she has been frozen in time. We viewers anticipate the shoe plummeting to earth, the folds of her dress ruffling in the breeze, and the backward motion of the swing as it descends. This sense of expectation is a product of the installation's successful use of movement.