Echoes and Edges: BEATRICE WANJIKU | CAMILLE WEKESA | MISKA MOHMMED | MONGEZI NCAPHAYI | THAMEUR MEJRI

ECHOES AND EDGES

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.

Kenyan artist Beatrice Wanjiku (b. 1978) is renowned for her evocative canvases that delve into the human psyche, exploring existential themes and societal constructs. Her work is characterized by a distinctive layering technique, often portraying abstracted human forms that challenge conventional perceptions of identity and reality. Wanjiku's art has been showcased in various international exhibitions, including the 57th Venice Biennale in 2017. She has participated in esteemed residency programs such as the Djerassi Resident Artists Program in California and the Vermont Studio Center Program. Her accolades include the UNESCO Aschberg Bursary (2013) and the Most Promising Female Artist Award from Alliance Française and Goethe-Institut (2006).

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).

Camille Wekesa, a Kenyan muralist and landscape painter, is celebrated for her large-scale murals and paintings that draw inspiration from nature. Educated in Italy, she mastered ancient Renaissance painting techniques, including fresco and restoration, which she adeptly integrates into her contemporary works. Wekesa's art has garnered international recognition, with her murals and paintings featured in various public and private collections. 

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.

Sudanese artist Miska Mohmmed (b. 1995) is acclaimed for her semi-abstract landscape paintings that capture the essence of her homeland near the Nile River. Her works interweave elements of land, water, air, and flora, creating vibrant tapestries that reflect the dynamic interplay between urban life and nature. Mohmmed's art has been showcased internationally, including at Art Dubai 2022, Art X Lagos in 2019 and 2021, and the Investec Cape Town Art Fair 2021. Her work was included in groundbreaking the "Africa Supernova" group show at Kunsthal Kade in Amersfoort, Netherlands.

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.

South African artist Mongezi Ncaphayi (b. 1983) is distinguished for his abstract works that blend printmaking and painting, often inspired by jazz music and themes of migration. A graduate of the Artist Proof Studio in Johannesburg and the School of the Museum of Fine Arts in Boston, Ncaphayi's art is characterized by intricate layering and vibrant color palettes. His accolades include the prestigious Absa L’Atelier Gerard Sekoto Award (2013) and residencies at the Cite Des Arts in Paris and the Thami Mnyele Foundation in Amsterdam. His works are part of esteemed collections such as the Smithsonian National Museum of African Art and the Museum of Fine Arts, Boston.

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.

Tunisian artist Thameur Mejri (b. 1982) is renowned for his provocative paintings that deconstruct human figures and symbols to critique societal norms and power structures. His dynamic compositions have been exhibited globally, including at the 13th Cairo Biennale and the Dakar Biennale of Contemporary African Art. In 2022, Mejri held his first institutional solo exhibition, "Until My Veins Collapse (States of Emergency)," at the Musée d'art Contemporain de Lyon in France, featuring large-scale murals and drawings that interrogate humanism and societal constructs. His works are part of prestigious collections such as the Barjeel Art Foundation in Sharjah, UAE, the Sindika Dokolo Foundation in Luanda, Angola, and the Dalloul Art Foundation in Beirut, Lebanon.

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

Heidegger, M. (1962). Being and Time (J. Macquarrie & E. Robinson, Trans.). Harper & Row.

Enwezor, O. (2003). “The Postcolonial Constellation: Contemporary Art in a State of Permanent Transition.” Research in African Literatures, 34(4), pp. 10-27.