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 that gathers the works of Beatrice Wanjiku, Camille Wekesa, Miska Mohmmed, Mongezi Ncaphayi, and Thameur Mejri.
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.
Okwui Enwezor’s writings, particularly his reflections in “The Postcolonial Constellation: Contemporary Art in a State of Permanent Transition” (2003), provide a vital lens through which to contextualize these transitions. Enwezor often emphasized the significance of rupture, or the breaking of established narratives, as a means of forging new understandings of history and identity. He observed, “The modern experience is haunted by the memory of its discontents, but it is also energized by the possibility of transformation” (Enwezor, 2003, p. 15). This duality - the tension between echo and edge - resonates deeply with the works presented in this exhibition.
Each artist in Echoes and Edges engages with the theme of transition in ways that are deeply personal yet universally evocative, reflecting diverse perspectives on the intersections of memory, place, and change.
Beatrice Wanjiku: Wanjiku’s practice delves into the human psyche, confronting themes of vulnerability, resilience, and the search for meaning. Her figurative works, marked by their raw emotional intensity, embody the Heideggerian idea that “Anxiety is the state-of-mind which brings one face to face with nothingness” (Heidegger, 1962, p. 230). Wanjiku’s art challenges viewers to confront their own thresholds of being, engaging deeply with the inner conflicts that define transitional states.
Camille Wekesa: Drawing inspiration from Kenyan landscapes and their metaphysical resonance, Wekesa’s paintings invite viewers into a contemplative space where memory and imagination converge. Her work aligns with Heidegger’s notion of dwelling, where being is rooted in a deep engagement with the world around us. Her evocative depictions of transitional spaces—whether physical or emotional—capture the essence of transformation as an act of becoming (Heidegger, 1962, p. 91).
Miska Mohmmed: Mohmmed’s art explores the fluidity of identity and the impermanence of cultural memory. Through abstract forms and intricate patterns, her works evoke the ephemeral nature of human connections and the weight of historical legacy, inspired by her native Sudan. In Enwezor’s terms, her practice reflects “the necessity of reconfiguring the postcolonial archive” (Enwezor, 2003, p. 18)—a process of both preservation and reinvention.
Mongezi Ncaphayi: Ncaphayi’s abstract, lyrical compositions reflect the fluidity of time and space, drawing on themes of musicality and movement. His use of bold, sweeping gestures and intricate details speaks to the constant flux of existence, echoing Enwezor’s observation that “the world is not static but in perpetual motion” (Enwezor, 2003, p. 23). Ncaphayi’s works remind us of the transformative potential of embracing uncertainty and change.
Thameur Mejri: Known for his layered, dynamic compositions, Mejri’s work interrogates the fragility of human existence within socio-political landscapes. His canvases, dense with imagery and symbolism, evoke a sense of rupture and reconstruction. In the context of this exhibition, Mejri’s pieces serve as visual echoes of Heidegger’s assertion that “Being-towards-death” is a defining characteristic of existence (Heidegger, 1962, p. 245). His art embodies the tensions between decay and renewal, past traumas, and the hope for a reconstructed future.
Launching at the start of 2025, Echoes and Edges is imbued with the spirit of renewal that accompanies a new year, reflecting on the evolving political environment in the United States. The exhibition acknowledges the fractures and transitions of recent years, while offering a hopeful vision of transformation and possibility. As Enwezor poignantly noted, “Art has the capacity to imagine new futures even as it reckons with the ghosts of the past” (Enwezor, 2003, p. 27).
References
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Heidegger, M. (1962). Being and Time (J. Macquarrie & E. Robinson, Trans.). Harper & Row.
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Enwezor, O. (2003). “The Postcolonial Constellation: Contemporary Art in a State of Permanent Transition.” Research in African Literatures, 34(4), pp. 10-27.
