VIEW IN MY ROOM
United Kingdom
Drawing, Graphite on Paper
Size: 39 W x 50 H x 0.1 D in
Ships in a Tube
Artist Recognition
Artist featured in a collection
A study of dried whelk egg sacs found on the beach, in graphite on tracing paper. This drawing led to a sculptural drawing entitled 'Traces', created with copper wire, handmade 'khadi' paper, oil and rabbit skin glue. 'I am interested in the essence of becoming, emergence, beginnings of life, embodiments, ephemerality, mutability, bodily forms that oscillate'. Please note, the outline shape of this drawing is torn, rather than being a straight edged rectangle. The organic outer shape echoes the content.
Drawing:Graphite on Paper
Original:One-of-a-kind Artwork
Size:39 W x 50 H x 0.1 D in
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships Rolled in a Tube
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships rolled in a tube. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United Kingdom.
Customs:Shipments from United Kingdom may experience delays due to country's regulations for exporting valuable artworks.
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United Kingdom
Born and brought up in Kenya, I now live and work in Somerset, UK. I have an MFA (distinction), Bath Spa University. I was an Ingram Prize finalist ’21, recipient of a Royal Society of Sculptors Gilbert Bayes Award ’19, and received the Red Line Art Works Award ’20 for my environmental sculptural installations Glut, Accretion, Snakes and Ladders. I exhibit throughout UK and internationally, am a member of Royal Society of Sculptors, and trustee of Somerset Art Works. I create mixed media assemblages, blurring boundaries between sculpture, drawing and installation, often large-scale and immersive. There is an overriding message of sustainability, with environment at heart; a passion for nature rooted in the notion of life’s interconnectedness, cyclical persistence, transformation. I am interested in tentacularity; the complex web of relationships from micro to macro. I see these rhizomic connections as metaphors for life, vitalism and regeneration. Life as line, energy, is an ongoing ‘doing’ thing - matter in a process of becoming. The work focuses on concerns about climate breakdown, human exploitation of nature and over-consumption, which has led to catastrophic mass animal/plant extinctions. My approach is a form of suturing, artivism, making do, care and repair, giving abandoned objects new life. Materiality and process are key. My re-appropriation of reclaimed, found and discarded materials relates to waste, our relationship with matter, nature, and ourselves. I regard materials as non-hierarchical. I use labour-intensive methods, often meditative, engaging directly with materials, deliberately showing the hand of maker. Processes include weaving, wrapping, hand stitching, soldering, welding and casting. There is a play of contrasts, an eclectic juxtaposition of delicate/soft and strong/hard. These can suggest organic bodily forms, sometimes abject. The work blends ancient craft with contemporary concepts, fusing cultures. Deep-rooted connections with Kenya (where I was brought up) inform work. Larger concerns are layered over personal histories. I am interested in creating site-responsive work in unexpected places for art, reaching people who may not have engaged with contemporary art before. Alongside my own practice, I work within the community on socially engaged projects.
Artist featured by Saatchi Art in a collection
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