Final answer:
It is true that Yinka Shonibare uses silhouettes in his art to address postcolonial themes and explore race and identity, evident in works like 'Untitled (from Testimony)' and 'Crash Willy.' However, the provided information does not confirm Yuki Kihara's use of silhouettes, so the statement can only be partially verified as true for Shonibare.
Step-by-step explanation:
True or False? Yuki Kihara and Yinka Shonibare both use silhouettes in their work to train a postcolonial lens on historical subject and explore ideas of race and identity. It is true that Yinka Shonibare has employed silhouettes in his work, particularly in pieces like “Untitled (from Testimony)” where the contrast of black and white - and sometimes red - is used to convey stark messages. Shonibare's works often critique postcolonial themes through the use of materials like Dutch wax printed cotton textiles, which while identified as African art, have a complex history tied to colonial trade. He deftly explores issues of race and identity with headless figures, vibrant patterns, and references to Western history and literature, such as in his work “Crash Willy,” which refers to the American play “Death of a Salesman.”
However, the information provided does not reference Yuki Kihara using silhouettes in her work. While both artists may share themes of postcolonial critique and explorations of identity, without further evidence, it is difficult to confirm the statement's accuracy in regards to Kihara. Thus, based on the information given, the statement can only be partially verified as true with respect to Yinka Shonibare's artistic practice.