Featured in NKA Journal of Contemporary African Art Issue No.56

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. 

Hope

Currently on view at the One-off gallery till 21 September

For what is our civilised world but a big masquerade?…….only masks, and, as a rule, behind the masks you will find moneymakers. One man, I suppose, puts on the mask of law, which he has borrowed for the purpose from a barrister, only in order to be able to give another man a sound drubbing; a second has chosen the mask of patriotism and the public welfare with a similar intent; a third takes religion or purity of doctrine. For all sorts of purposes men have often put on the mask of philosophy, and even of philanthropy,…

Then there are general masks, without any particular character attached to them like dominoes. They may be met with everywhere; and of this sort is the strict rectitude, the courtesy, the sincere sympathy, the smiling friendship, that people profess. The whole of these masks as a rule are merely, a disguise for some industry, commerce, or speculation. 

-An excerpt on human nature by Arthur Schopenhauer 

fig.1 The substance of things

The paintings I’ve presented in this exhibition, oscillate between how reality is imagined and how it actually manifests. The reference of stripped flesh, is a recurring motif which I often use as an identifier that informs stereotypes, the forms used here in multiple iterations explores our internal identities and territories as a mental frame of reference. 

The work seeks to expose broken systems of governance, a precarious awareness now challenging the values that have, in different forms and times steered societal structures and how our humanity is coming face to face with the fall out resulting from fragmented systems. This is happening on all fronts of the global Social agitation. While this is one of the ways of confronting the dysfunctionality rooted in our social structures, the intensity of these times is also giving rise to a climate of over-legislation, militarisation and intolerance. When we consciously consider our interconnectedness, we become heightened to our own existence. Therefore my intention is for these paintings to encapsulate the prevailing realities and also serve as a place of connecting to the experiences of others. 'Hope' then becomes a revolutionary act of defiance.

fig. 3 Study III

Notes on Friendship: Breaking Bread

Currently showing in, Notes on Friendship: Breaking Bread, a collaborative exhibition between Nairobi Contemporary Art Institute (NCAI) and Savannah Center for Contemporary Art, Tamale, Ghana, which opened on 29, April. The exhibition explores friendship as a dynamic space for dialogue, critique, and support, offering a platform where shared histories and present-day realities intersect, opening up new possibilities for connection and collaboration. This flexible idea of friendship allows artists to form relationships on their own terms, encouraging mutual exploration and creative engagement.

Exhibition still fig. 1 The Substance of Things

Framed as a "lost tape" rediscovered in African history, Notes on Friendship: Breaking Bread reimagines hosting and hospitality as acts of political and artistic significance, featuring 23 artists from East and West Africa. The exhibition is a cross-cultural connection and imaginative collaboration. Emerging from a desire to bridge geographic and generational divides, the exhibition explores friendship as a site for dialogue, critique, and creative support.

The exhibition presents the worldviews of practitioners across generations, Media and, discipline through three thematic configurations: About us, Nostalgia, and Objects. About us, explores narratives that constitute the self. Nostalgia, gathers work that offer perspectives informed by history and current interpretation thereof. Works in the third group, objects, takes a speculative approach towards the future through their engagement with objects and materiality.



The exhibition runs until 27th July 2025

Echoes and Edges

Echoes and Edges 

16 January -22 February

Montague Contemporary

In the moments between the familiar and the unknown lies the potential for transformation. This space of transition, memory, and renewal is at the heart of Echoes and Edges, an exhibition inspired by Martin Heidegger’s Being and Time (1962) and Okwui Enwezor’s analyses of temporality and rupture, the show invites audiences to consider the fragile yet potent boundaries of being. As Heidegger writes, “Temporality makes up the primordial meaning of Dasein’s Being” (Heidegger, 1962, p. 41) - a reflection on the fluid and interconnected dimensions of past, present, and future that shape our existence.

Heidegger’s exploration of the concept "Dasein" (Being-there) is a meditation on existence as a state of constant becoming. For Heidegger, the human condition is defined by its temporality: our being is always situated within a continuum of memory, present experience, and anticipation. This interplay creates a dynamic process of self-definition, a navigation of edges where past and future collide. Read more here... https://www.montaguecontemporary.com/exhibitions/51-echoes-and-edges-beatrice-wanjiku-camille-wekesa-miska-mohmmed/overview/

We are Parlor Soldiers

We are Parlor Soldiers’

31st August to 21st September at the One-Off Gallery

These works call for introspection; a call to return to ourselves. A call to assess the person in front of the mirror. Especially in these times. These works focus on our internalised core feelings, as we individually seek to remedy our self-imposed ethical dilemma.

Exhibition stills  fig. 1 Parlor Soldier, fig. 2 Boogie Dark 

 

Exhibition Stills fig. 1 (left) Cannon fodder fig. 2 (right) Cannon fodder II

The paintings far from being detached from the prevailing realities of a greater society are instead a facet of it. My intention is for these paintings to encapsulate the prevailing realities and also serve as a place of connecting to the experiences of others.

 Cannon fodder

 

Studio Still

Gallery Artist 24

Exhibition install

The work submitted in the exhibition comes from an ongoing body of work that examines the construction of the individual what is called, “ethical substance” skin stripped of flesh (a recurring motif) skin often an identifier that informs stereotypes; to explore our internal territories which forms the basis of our existential angst, the pursuit of happiness, and the desire to correct our own self-imposed ethical dilemma. Through intentions and actions both consciously and unconsciously we act based on our perceived reality of this ethical substance. The work therefore serves as a mirror of the interconnectedness of our collective and shared histories.

Exhibition Install

Contours of Memory

An Unstructured Mess (2016)

“Contours of Memory” at Montague Contemporary February 1, 2024 and concluded 20 March 2024. Spans artistic expression from the past four decades, showcasing the transformative power of African art in shaping cultural narratives. I exhibited alongside works from El Anatsui, Oladélé Ajiboyé Bamgboyé, Merikokeb Berhanu, Victor Ekpuk, William Kentridge, Wole Lagunju, and Tesfaye Urgessa. Contours of Memory, is an immersive journey into the heart of African storytelling celebrating the rich tapestry of African life and culture, woven together by the unique artistic languages of these seven artists. The show stands as a testament to the enduring spirit and evolving narrative of the continent, inviting viewers to explore and reflect on the multifaceted experiences of African identity. my work in this exhibition confronts viewers with the complexities of the human condition within societal constructs, echoing themes of existentialism.

Sharjah Architecture Triennial. The Beauty Of Impermanence: An Architecture of Adaptability

“Creation” 2023 Mixed Media on Canvas

Honoured and delighted to be participating at the Sharjah Triennial 2023, "The Beauty of Impermanence" An Architecture of Adaptability with cave bureau, a Nairobi based bureau of architects and researchers charting explorations into architecture and urbanism within nature. whose work addresses the anthropological and geological context of the postcolonial African city as a means to confront the challenges of our contemporary rural and urban lives. 

In this triennial, the ninth installment of Cave Bureau’s ( Anthropocene Museum 9.0 ) research series constitutes the adaptation and tour of Sharjah’s old slaughterhouse, whose primary protagonists are the animals —cows, goats, sheep, and camels — consumed in the city; often without thought of their origins or how they are processed. The audience is corralled through an ever-present, but seldom reflected upon municipal event space, in a building that is now only intermittently used.

“The old Sharjah slaughterhouse”

The work I've presented at the old Sharjah slaughterhouse with cave bureau explores our humanity. The forms are stripped of flesh as a metaphor for how skin often informs stereotypes and the idea of exposed flesh, ribcages, raw, and bloody the grotesque is to explore a time in decline. The vulnerable form, in this exposure is a reflection of how we contend with our own intimate nature the forms which are dissected become ambiguous, abstracted, free to move unencumbered beyond the frame. This internal structure with its endless possibilities, its transient nature is a point of reference in my work as an observation of our shared experiences. The work is inspired by a concatenation of events, (human) events, leading to the exploration of our bodies in a space and time of change; interrogating encounters within our individual states and the dysfunctionality rooted in our social structures, the intensity of these times as a consequence of this, our humanity has now come face to face with the fall out resulting from these fragmented systems.

“The Primal and Unutterable III” 2023

At the core of the exhibit lies the philosophical underpinning of meaningful impermanence. In life, only death is certain, everything else is in flux. Visitors are encouraged to view the ever-shifting built landscape of life as an opportunity for reversed notions of growth, through introspection, and spiritual reconnection. It asks one to accept the need to adapt through a new planetary consciousness, that embraces meaningful impermanence without us building almost anything at all.

Past is Prologue II (Three Centuries of African Art)

The work in this exhibition is a juxtaposition of classical African art and Contemporary African art. Classical African art is profoundly integral to the society from which it sprung and a significant component of the communal, spiritual, and political structures of the many numerous and distinct cultures that produce it. From intricately carved masks to powerful wooden power statuary they provide a visual language through which these societies communicated not just with each other but also with the spiritual realm and the natural world around them.

My work explores the Contemporary perspective ; the paintings examining the specificity of our encounters as women which tend to be either marginalised or subsumed within patriarchal narratives steeped in culture. Constantly navigating dynamics within society the work looks to reflect ourselves back to ourselves and open dialogues. The paintings submitted in this exhibition are from  the “Savages” and the “Strait Jacket series” challenging the narratives of self, place, and purpose.

The exhibition concludes June 30.

Beyond Beauty (Savages series)

 

Transient Beings

To understand the transient nature of being is to accept that we are all just passing through one phase of our life after another. The exhibition investigates the many planes of existence, past and present, we navigate through. Each plane exists for us as a transient phase, but the entire process takes a lifetime. A continuous growth as a person is fundamental to the human experience. 

The Strangeness of My Madness VI 2022

Life is transient, yet art tries to capture its fleeting instants and this continuous process of transformation.

In “Transient beings. Contemporary African art and the human form”, the exhibition scrutinizes the human experience, the work functioning as a mirror of who we are. 

The exhibition will open on May 18th and run till 11 June. Read more on the exhibition here

Happy New Year!

 

In Want of All things 

( Mixed Media on Canvas) 100cm x 150cm

 

We Contain Multitudes

Montague Contemporary in partnership with NYC Culture Club,  presents, "We Contain Multitudes," an exhibition curated by Laura Day Webb.

 
The exhibition examines multifaceted perceptions and experiences of identity, belonging, and womanhood, and their relationship to cultural heritage and the contemporary world. 

The exhibitions opened November 16, 2022 and closes January 15, 2023

In Memoriam; Why Should I Be Out of Mind Because I Am Out of Sight?

Mother

Death is nothing at all. It does not count.
I have only slipped away into the next room.
Nothing has happened.
Everything remains exactly as it was.
I am I, and you are you, and the old life that we lived so fondly together is untouched, unchanged.
Whatever we were to each other, that we are still.
Call me by the old familiar name.
Speak of me in the easy way which you always used.
Put no difference into your tone.
Wear no forced air of solemnity or sorrow.
Laugh as we always laughed at the little jokes that we enjoyed together.
Play, smile, think of me, pray for me.
Let my name be ever the household word that it always was.
Let it be spoken without an effort, without the ghost of a shadow upon it.
Life means all that it ever meant.
It is the same as it ever was.
There is absolute and unbroken continuity.
What is this death but a negligible accident?
Why should I be out of mind because I am out of sight?
I am but waiting for you, for an interval, somewhere very near, just round the corner.
All is well. Nothing is hurt; nothing is lost.
One brief moment and all will be as it was before.
How we shall laugh at the trouble of parting when we meet again!

-Henry Scott Holland 

13 Bienal do Mercosul - Trauma, Dreams, Escape

"Nearly all of those who survive trauma experience some form of sleep disorder, such as insomnia. But for about half of the three-quarters of people, it is vivid dreams that prevent them from sleeping deeply and which open the doors of their consciousness to a path of invention". -excerpt from 13th Mercosul biennial  is investigating the work of artists that have included the narrative sequence formed by these three words - Trauma, Dreams, Escape – in their works.

On The Skin of Strangers (detail) 2022

After the pandemic, a condition that was imposed on all humanity we explored new ways to express ourselves, to understand the traumas the pandemic exposed in all of us. The work I've presented in the biennial whose theme is, Trauma, Dreams Escape”, curated by Marcello Dantas, is an extension of an ongoing series that examines the womb( and agency) ; the womb is central in the exploration and is used here as an allegory, referencing beginnings, rebirth and transitions. The human form is stripped of skin, a recurring motif, which is often an identifier that informs stereotypes, the stripped form used here in multiple iterations to explore our internal identities and territories as a mental frame of reference. A reference for a society that is constantly changing. During these times we are faced with ever an ever-changing global climate. From the onset of the pandemic, we find ourselves contending with the illusion that we had a semblance of control our lives were interrupted and changed. This brought about the exploration of our bodies in a time and space of change; the work is an attempt to cement the transitory feeling of developing individuality amidst the context of shared struggle. 

Installation stills (Instituto Ling) 2022

The solitude of a mandatory quarantine exposed traumas that were not only individual but global. The times exposed broken systems of governance, a precarious awareness now challenging the values that have, in different forms and times steered global societal structures. Our humanity coming face to face with the fall out resulting from fragmented systems. This is happening on all fronts of the global Social agitation. While this is one of the ways of confronting the dysfunctionality rooted in our Social structures, the intensity of these times is also giving rise to a climate of over-legislation, militarization and intolerance. 

Babel (2022)

The womb is an allegory and a response to a shifting global climate and also the template of our dreams, of an imagined state of being, of our Individual resistance projecting a semblance of breaking out from the exoskeleton of collective formatting and expectations. When the figures are stripped off their skin, they are invariably stripping away the pretensions and powers of humanity; allowing room to explore our lives, our influence and expose our collective universal interconnectedness. 

Drawing on parallels of the “Tower of Babel”in Genesis; 

“and this is only the beginning of what they will do; and nothing that they propose to do will now be impossible for them”. 

To our modern-day, “Babel", examines ambition, the erasure of the individual in favour of the collective, the use of legislation to suppress the rights of the individual. 

By exploring the theme of Trauma, Dreams Escape, the work  also examines the construction of the individual what is called "ethical substance," which forms the basis of our existential angst, the pursuit of happiness, and the desire to correct our own self-imposed ethical dilemma. Through intentions and actions, both consciously and unconsciously, we act based on our perceived reality of this ethical substance. The work therefore serves as a mirror of the interconnectedness of our collective and shared histories.

Unsettled

Currently exhibiting work at Duende Art Projects, The exhibition, "Unsettled" is an ode to restlessness. What are humans if not always striving to become a better version of themselves? Restless souls who are invariably moving, stretching themselves – and thereby others - in an active pursuit for impalpable aspirations. This continuous chase can go hand in hand with a passionate desire to express this unsettled state. 

The exhibition closes 3 July 2022.

Installation still

An excerpt about the work by Curator, Bruno Claessens.

...In her practice Wanjiku examines the times we are living in. With ambiguous feelings, she senses the world is in a phase of self-combustion. Moved by social and political situations, both on a local as global level, her works interrogate their unsettling impact on our lives. Her paintings are not political, but reflect on our journey as human beings, and how we are forced to constantly adapt to navigate our social spaces. Wanjiku’s paintings scrutinize the human experience, functioning as a mirror of who we are.

With her paintings, Wanjiku hopes we can return to our true selves, bringing back the completeness that we are searching for. Her work reflects this pursuit for meaning, to make sense of our constantly altering realities.

Exhibition Installation stills

Exploring the ‘condition humaine’, Wanjiku displays who we are as human beings, in our genuine entirety. While being masters of our own destiny, she visualizes the duality of our inner selves, constantly battling between choices in a process of doubt while trying to reinvent ourselves. Wanjiku is inspired by the shared experience of the multifaceted persons we are, ever- changing and evolving. The motif of the gaping mouth, omnipresent in many of her paintings, is a metaphor for this constant and consuming search that alters us; it is an insatiable abyss. Wanjiku’s portraits deliberately have a certain abstractness, not wanting to portray identifiable persons so they can function as a mirror to each. In the unsettling confrontation with her works, the viewer is challenged to re-evaluate oneself.

The Strangeness of My Madness VI (2022)

With her paintings Wanjiku expresses something that’s within. She is on an elusive quest to figure out how our internal functions, trying to represent our inner selves by peeling away the layers of constituted social norms. Wanjiku goes straight to the core of our being. She bypasses the superficialities and dives into the common features of being human, like bones, blood, veins and other guts. She wants to show the backbone of our human existence. While painting the physicality of the human body, it is our mental interiors she is trying to capture.

Installation Stills

A prominent visual element in the featured works is her anatomical deconstruction of the human body, especially the ribcage, protecting the body’s essential’s guts. For Wanjiku, human bodies are a metaphor for our mental frame of reference. Her art has a larger, more universal message – as our human condition it is shared by all, notwithstanding physical differences in skin color, gender, or age. Wanjiku prefers to work with darkened hues,building up her portraits with a layering of flesh tones and shades of dark blue. The final layer is so thin it becomes see-through. Underneath, a brightness of red hues emerges from a womb like shape – suggesting re- birth. The womb suggests a reclaiming of a life and hope, filled with energy and power. Pregnant of possibilities, her paintings are metaphors for new beginnings, a rebirth within oneself. To peer into a painting of Wanjiku is to lose yourself in questions of being, of belonging and of existence.

Installation Stills

Fictions

Currently showing work at Circle Art Gallery, this exhibition curated by Don Handa, invites the viewer to consider possible relationships between one work and the next and, by extension, between each artist’s practice and the next. The title of the exhibition "Fictions" speaks to the possible connections that can emerge in the distance between artworks; and how that space can offer room for the viewer to begin thinking about thematic connections and overlaps. Fictions contends that one artwork/artist can expand the viewers thinking about another.

Recalled to Life (2020)

How, for example, do the intricate drawings of Gor Soudan, which intermingle the natural and man-made in our environment relate to the large abstract, iterative, landscape-inspired works of Tahir Karmali, or the material experiments of Maliza Kiasuwa? Where does the interiority that marks the works of Beatrice Wanjiku and Tiemar Tegene meet the narrative, observational quality of Salah Elmur and Geoffrey Mukasa’s portraits? Can the unfixed compositions of Jonathan Fraser somehow lead one to the dreamlike visions of Wanyu Brush? How do inanimate objects take on new lives in the paintings of Sujay Shah and Nahom Teklehaimanot?

The Primal and Unutterable II (2021)

Such questions – perhaps they are suggestions – lie at the heart of the exhibition. The show treats visual, thematic, and material parallels and starting points for richer, more involved interpretations of the selected works. The exhibition insists that we think of artworks as existing within a broader context of making and thinking, and not solely as discrete objects emerging from the studio.

Mount Kenya Point Lenana

Life is defined by many, many things, but mostly those moments that challenge us and reveal our mettle, summiting Mount Kenya is top most my greatest accomplishment. 

I embarked on a journey to summit Lenana peak Mount Kenya, the highest mountain in Kenya, second highest highest in Africa, after Kilimanjaro on Saturday 9th 2022. We accessed it using the Naro Moru trail a tough trail due to its steep ascend to make camp overnight at Naro Moru River Lodge/Teleki Lodge to make the final ascend the following morning. The hike is scenic with lolling clouds sweeping over the mountains, giant lobelias and moorland. 

View from the summit 16,355 ft Above Sea Level

View from the descend

I had previously done a day hike to Mackinder’s camp having started at 10.30 am and summiting at 2.30pm, four hours. Which I would imagine is quite a great start considering the altitude changes and elevation of 4300 meters or 14200 feet above sea level. As I arrived at Mackinder’s camp one of the  hikers we were with, remarked that it was just 6km to the Lenana peak summit a 500 meter gain in elevation. I recall looking back and thinking had I come prepared, I would have summited the very next day. Let’s just call this sentiment, an over estimation we were high from the mountain air. Hiking Mount Kenya is a fete that people prepare for, doing altitude hikes at many Kenyan altitude ranges. So having summited Mackinders, the rush of finishing, the feeling that one is unstoppable; turning back and heading home I was resolved to conquer this mountain.

This is me hunched over just a few meters to the summit, struggling to breathe, my heart palpitating so loud at his point I didn't think summiting was a possibility. It felt like my body was giving up on me. However much I wanted to proceed I couldn't breathe had to breathe through both my nose and mouth. I stood at this point for a good ten minutes until my heart rate became regular.

A mountain conquered, a victory realised!

The day arrived, we set out for Mackinder’s camp at 1:30pm and arrived before 6pm. The hike up the mountain scenic, we stopped every so often to take pictures and to just take in the sights. The weather was very favourable no rain, hail or snow, but nothing prepared me for the freezing winds. When we set out for the mountain, we had left the porters behind and with them our food rations and among them was our cook for the night. So you can imagine having arrived at Mackinder’s everyone was a bit famished there was not a hot meal and it was soon a dying of the light as the night set in. We asked if a fire could be lit but apparently due the thin air and the smoke from the firewood would apparently be poisonous. I think the whole idea of camping at Teleki lodge is so that the body can acclimatize during the night. 

Giant lobelias 

Waking up at 1:30am for a light breakfast we departed for peak Lenana, a 6km ascend with an elevation gain of 500 meters at 3am with nothing but our torches illuminating the way. The skies clear, stars visible, and the trail of torches lighting the way as we made our way up the mountain. Silence enveloped us save for the grunts and strained breathing as the altitude assaulted our senses; all around us the only sound audible was that of our feet as we made our ascend. The ascend gruelling and brutal, freezing winds, stopping for a minute or two for some reprieve to catch our breathe and  acclimatise to the altitude. The air thin an assault on my lungs as I struggle with my laboured breathing, my heart palpitates so loud but we trudge on until we reach the Austrian camp and rest a bit before we make the final ascend which as estimated by the guide will take us another hour. At this point my fingers, toes and mouth are numb talking is impossible and when I make an attempt it feels like I had a visit to the dentist words come out jumbled. 

We make the summit at 6am in time to view the sunrise four hours later; four hours is relatively the distance one covers walking 15km on a normal trail. Words fail in describing having succeeded to summit, but as the saying goes, “what goes up must come down”, and that was another challenge in on itself. All that mattered is that I conquered Mount Kenya!

The temperature dropping to freezing degrees, let me just say that no amount of preparation prepares you for how cold it got at night. The views though are incomparable! 

Studio News!

Happy belated new year!

I know, I know, like really? Yes. The year is still new though we carry on our days with the responsibilities of the old one. Fresh thought and new ideas growing off the previous both literally and metaphorically, finishing up projects and starting new ones. I have resumed and are back in the the studio after a small hiatus having had a dynamic year that left me feeling burnt out and in need of some rest, I am back, rejuvenated, and refreshed excited to update you and let you in on some studio news;

The year is off to an exciting start; I will be exhibiting at the Expo Chicago with Montague Contemporary. The International Exposition of Contemporary & Modern Art, that features leading international galleries alongside the highest quality platform for contemporary art and culture.

In 2022, EXPO CHICAGO will host the 9th edition in-person exposition on April 7-10, 2022

Restless in rest IV (2020)

On 26 May - 3 July 2022,  I have an upcoming group show with Duende Art Projects dubbed, “Unsettled” at Zwartzusters monastery, Antwerp, Belgium 

Unsettled” is an ode to restlessness. What are humans if not always striving to become a better version of themselves? Restless souls who are invariably moving, stretching themselves – and thereby others - in an active pursuit for impalpable aspirations. This continuous chase can go hand in hand with a passionate desire to express this unsettled state. 

Work in progress  (2022)

Season's Greetings!

I know I haven’t posted for a minute save for updating on art and studio matters. But where else do I get to postulate and ruminate on my life. Let me take this moment to wish everyone happy holidays! The end of the year is nigh; 2022 looms over the horizon, and as always, it’s time to reflect the year that was.Taking stock of lessons learned, opportunities seized, failed states of being, growth, and an all-round illusion of some semblance of order. I woke up saying I need to name five things that I’m grateful for each day. Just five. There’s something about naming them that not only makes one thankful but also one gets to pause and really think. In that way it becomes a way of appreciating even the most mundane moments. While it is easy to define our lives by what we do, these times have proven that is no longer a viable option. Reflections are very illuminating calling to mind my shortcomings and failings. These reflections allow me to appreciate beyond my work, circles of support that I have around me. Family and friendships not necessarily the one you’re born into but those whom we have adopted and have remained true through adversity, joy, at this journey we call life. 

(When not in the studio you'll find me outdoors hiking the trails)

I ushered this year uncertain of what it might entail, after the year that was 2020 a year plagued by a pandemic which by the way is still ongoing that utterly shuffled the way we do life. By this I mean the illusion that we somehow had a semblance of control on our lives. One thing I was certain of, was not to fall back to habits that were both time consuming and unproductive. I had to narrow down what exactly it is I wanted to achieve by the close of the year. I confess I am not one of those people who always ushers a new year with a plethora of resolutions, I mean it might work for some but for me every new year is an opportunity to complete ongoing projects or the completion of set goals. That way I am not fooling myself and I can realise my projects and find balance in both my work and personal life.

(The studio)

As we come to the close of the year gratitude rings in my mind. I’m grateful for mistakes I’ve made and they are many but more the lessons learned. I’m grateful for my solo show that was three years in the making amidst the times we are living in. Collaborated on a VR project that got selected for the Labiennale de Venezia, exhibited at the museum, was part of the tusk lion trail, a global project that aimed to highlight the ongoing threats to the survival of the lion population in Africa. Even with all these projects and more it is astonishing to discover I have a penchant to complain. Realizing I am, my own worst critic, I hope to eschew moving forward from this proclivity. I hope to remedy this by taking a moment to appreciate it all. This year with its wins and losses where sometimes the losses seems to engulf everything. Grief. What is grief? But a part of life. I buried many people this year. I mourned and yet there didn’t seem to be an end to the mourning. Grief hit different having lost an uncle who was like an adoptive father to me, it was one of those moments. Grief coming in unexpectedly, as I accepted the seasons of my heart with its infinite depths boundless and measureless. I grieved failed relations mourning the possibilities I hoped they would be. We continue to mourn for ourselves, the self we are constantly shedding.

(A Wild infection of a Wildly Shaken Public Mind, Solo Exhibition 2021)

Every end of the year this ruminations culminate in not carrying this baggage into the new year. Hoping to arrive at it with optimism. The remedy for this, gratitude. Gratitude even if the mundane moments feel so trivial making them more worth celebrating. So, as we enter the holiday season, I reflect on all those who don’t get to celebrate it for one reason or another. Whether we are alone or with the family we’re born into or adopted, the best way to celebrate the holidays is to be at peace with oneself within the spaces we find ourselves in. The seasons mantra, “peace and goodwill” to all men resounds most times goodwill barely hanging by a thread. Peace within ourselves allows the goodwill to spread to our loved ones. So, while we celebrate this festive season, I hope that everyone wherever we are, are loved and are loving in a small way and are able to extend friendship and love by paying it forward. These times that call for little moments shared between some grilled meat, the buffet, the loud laughter at the family table while my eyes scan across the room at faces I haven’t seen in a while sometimes since we ushered the year; this tradition where we gather for the holidays, each holiday we seem to be fewer and fewer at the table or when we come together for a funeral or impromptu gathering. This manner of getting together for those fleeting moments we engage and try to fit a whole year into conversations. Loud animated conversations where it feels like everyone is talking over everyone at the same time, music humming in the background and when everything has quieted down, we come to an understanding and are understood in whatever we are trying to say. Everyone somehow hearing and being heard; or sometimes we’re sitting on the couch completely stuffed and while you’re in a food coma and can barely remember the conversations a thought flashes across your mind catching you off guard that you laugh with reckless abandon in contentment. 

                                     

(Behind the Scenes IL Dubbio A VR Project 2021)

Wherever we find ourselves, let the most minutiae in the sounds of laughter, running footsteps, fading echoes of conversations in this festive season be the guiding light ushering us into a new year. Because who are we save for these fleeting moments that we so often take for granted. I wish you all love and when the curtain unveils the dawn of the new year, I hope to find you all on the other side.

Happy holidays!

Artworlds Podcast

https://artworlds-podcast.net/podcast/episode-3-beatrice-wanjiku/

https://www.artsy.net/artist/beatrice-wanjiku