As part of her 2023 Goodman Gallery London exhibition, the work series reflects and mediates on psychological and physical transitions, in both form and content. The spirals try to transcend upwards yet not quite reaching their destinations. She uses surreal and fleshy tones that articulate the artwork’s title. Abstract bodies in a constant state of flux emerge and multiply across the length and breadth of the canvases. These forms interrogate tensions in contemporary politics in Kenya and wider Africa. This amalgamation of the singular and communal has been an approach Ng’ok has used throughout her practice to push against authority, systemic violence and the long-standing legacy of colonialism.

As part of her 2023 Goodman Gallery London exhibition, the work series reflects and mediates on psychological and physical transitions, in both form and content. The spirals try to transcend upwards yet not quite reaching their destinations. She uses surreal and fleshy tones that articulate the artwork’s title. Abstract bodies in a constant state of flux emerge and multiply across the length and breadth of the canvases. These forms interrogate tensions in contemporary politics in Kenya and wider Africa. This amalgamation of the singular and communal has been an approach Ng’ok has used throughout her practice to push against authority, systemic violence and the long-standing legacy of colonialism.

As part of her 2023 Goodman Gallery London exhibition, the work series reflects and mediates on psychological and physical transitions, in both form and content. The spirals try to transcend upwards yet not quite reaching their destinations. She uses surreal and fleshy tones that articulate the artwork’s title. Abstract bodies in a constant state of flux emerge and multiply across the length and breadth of the canvases. These forms interrogate tensions in contemporary politics in Kenya and wider Africa. This amalgamation of the singular and communal has been an approach Ng’ok has used throughout her practice to push against authority, systemic violence and the long-standing legacy of colonialism.

As part of her 2023 Goodman Gallery London exhibition, the work series reflects and mediates on psychological and physical transitions, in both form and content. The spirals try to transcend upwards yet not quite reaching their destinations. She uses surreal and fleshy tones that articulate the artwork’s title. Abstract bodies in a constant state of flux emerge and multiply across the length and breadth of the canvases. These forms interrogate tensions in contemporary politics in Kenya and wider Africa. This amalgamation of the singular and communal has been an approach Ng’ok has used throughout her practice to push against authority, systemic violence and the long-standing legacy of colonialism.

As part of her 2023 Goodman Gallery London exhibition, the work series reflects and mediates on psychological and physical transitions, in both form and content. The spirals try to transcend upwards yet not quite reaching their destinations. She uses surreal and fleshy tones that articulate the artwork’s title. Abstract bodies in a constant state of flux emerge and multiply across the length and breadth of the canvases. These forms interrogate tensions in contemporary politics in Kenya and wider Africa. This amalgamation of the singular and communal has been an approach Ng’ok has used throughout her practice to push against authority, systemic violence and the long-standing legacy of colonialism.

As part of her 2023 Goodman Gallery London exhibition, the work series reflects and mediates on psychological and physical transitions, in both form and content. The spirals try to transcend upwards yet not quite reaching their destinations. She uses surreal and fleshy tones that articulate the artwork’s title. Abstract bodies in a constant state of flux emerge and multiply across the length and breadth of the canvases. These forms interrogate tensions in contemporary politics in Kenya and wider Africa. This amalgamation of the singular and communal has been an approach Ng’ok has used throughout her practice to push against authority, systemic violence and the long-standing legacy of colonialism.

As part of her 2023 Goodman Gallery London exhibition, the work series reflects and mediates on psychological and physical transitions, in both form and content. The spirals try to transcend upwards yet not quite reaching their destinations. She uses surreal and fleshy tones that articulate the artwork’s title. Abstract bodies in a constant state of flux emerge and multiply across the length and breadth of the canvases. These forms interrogate tensions in contemporary politics in Kenya and wider Africa. This amalgamation of the singular and communal has been an approach Ng’ok has used throughout her practice to push against authority, systemic violence and the long-standing legacy of colonialism.

As part of her 2023 Goodman Gallery London exhibition, the work series reflects and mediates on psychological and physical transitions, in both form and content. The spirals try to transcend upwards yet not quite reaching their destinations. She uses surreal and fleshy tones that articulate the artwork’s title.

Paul Maheke explores the act of drawing as a process of emergence. In his 'Ancestral Muse' works, rather than predicting what he will draw, the artist allows the surfaces on which he applies his marks to dictate the images that appear, channeling the faces and bodies of his ancestral muses through the material itself. For the artist, connecting with these muses is a way of tuning in with other realities as well as exploring the tenuous border between the visible and the invisible.

Paul Maheke’s exploration of the ancestral muse, seeks to highlight questions about history, visibility and representation. While creating the series of drawings of which ‘Ancestral Muse V’ forms, Maheke returned to his early education in etching, expanding on themes such as the different forms of interconnectedness and entanglement, which he explored in touring institutional shows at Galerie Rudolfinum (2023) and Kunsthalle Bratislava (2022).

Through delicate and intricate lines, striking muses emerge on multiple surfaces from paper to aluminum. Each work explores the act of drawing as a process of emergence. Rather than predicting what he will draw, the artist allows the surfaces on which he applies his marks to dictate the images that appear, channeling the faces and bodies of his ancestral muses through the material itself. For the artist, connecting with these muses is a way of tuning in with other realities as well as exploring the tenuous border between the visible and the invisible.