My work was featured in NKA- Journal of Contemporary African Art. Issue No. 56. A journal that focuses on publishing critical work that examines contemporary African and African Diaspora art within the modernist and postmodernist experience and therefore contributes significantly to the intellectual dialogue on world art and the discourse on internationalism and multiculturalism in the arts. Chika Okeke-Agulu writes in his article:
Fig. 1 Cannon Fodder
I first encountered Wanjiku's work in the impressive 2015 "Guess Who's Coming to Dinner" group exhibition curated by Ugochukwu-Smooth Nzewi for the Richard Taittinger Gallery, New York. For more than two decades, she has made paintings, often with the human body and figure as the basis of her exploration of what it means to be human in a time of extreme, precarious, terrifying, sociopolitical and ecological transformation and crisis. Wanjiku has shown, with exacting formal eloquence, how the body as flesh and bone and as symbolic space can serve as as the text and context for what Stuart Hall once described as "the brute facts of human history, which after all have disfigured the lives, and crippled and constrained the potentialities of literally millions of the world's dispossessed". With themes and subjects drawn from her own observations or from media, literary, and historical sources, Wanjiku's expressive brushwork, her dark and ominous palette, and her often searing view of, and allusions to, the body or its parts results in paintings of remarkable visual power.
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