Set up view of “Christina Kimeze: Between Wooden and Wheel,” South London Gallery, London, UK (Jan. 31-Might 11, 2025). | Photograph: Andy Stagg
THE FIRST UK SOLO EXHIBITION of Christina Kimeze (b. 1986) presents new and up to date work, works on paper, and a brand new tapestry commissioned by Dovecot Studios in Edinburg. Mixing figuration and abstraction, Kimeze’s charming work usually image lone feminine topics immersed in pure landscapes and interiors with remoted architectural parts, mysterious environs outlined by good coloration and rhythmic and abstracted patterns.
A London-based painter, Kimeze has had a rare begin. After incomes an undergraduate diploma in organic sciences from the College of Oxford, she accomplished the postgraduate program at The Royal Drawing Faculty (2021-2022). White Dice Paris introduced a solo present of Kimeze in 2023. Her residency experiences embrace Palazzo Monti in Brescia, Italy (2022), and Black Rock Senegal (2024-25). In January 2025, she joined Hauser & Wirth, one of many largest and most influential galleries on the earth.
The title of Kimeze’s exhibition at South London Gallery (Between Wooden and Wheel) is a line from “Evening on the Curler Palace” (2012), a poem by January Gill O’Neil, a professor at Salem State College in Salem, Mass. On the middle of the present are new work impressed partially by the enjoyment and communal nature of curler skating.
“I turned intrigued by the way in which folks describe emotions of freedom and flight after they discuss curler skating.” — Christina Kimeze
“By means of my analysis, I turned intrigued by the way in which folks describe emotions of freedom and flight after they discuss curler skating. That basically me, as a result of I’m typically searching for some type of anchor to visually signify what it’s to discover oneself and one’s internal life,” Kimeze mentioned in a dialog with Alayo Akinkugbe that’s printed within the exhibition catalog and excerpted within the gallery information.
“Freedom clearly means various things to completely different folks, however there’s one thing about curler skating which appears to engender these emotions of freedom and of flight. This has led me to analysis folklore about girls, particularly, who fly. Curler skating, as a topic, was a gateway into the bigger work, that are extra to do with flight.” CT
“Christina Kimeze: Between Wooden and Wheel” is on view at South London Gallery in London, UK, from Jan. 31-Might 11, 2025
FIND MORE about Christina Kimeze on her web site and Instagram
Christina Kimeze in her studio, 2024. | Photograph by Lily Bertrand-Webb, Courtesy Hauser & Wirth
Author and broadcaster Emma Dabiri excursions Christina Kimeze’s exhibition at South London Gallery and explains the that means and symbolism of the artist’s work. | Video by South London Gallery
CHRISTINA KIMEZE, “Hovering (I),” 2024 (oil, pastel and oil stick on suede matboard, 210 x 165 cm). | © Christina Kimeze, picture courtesy of the artist. Photograph: Matthew Hole
CHRISTINA KIMEZE, “Display (I),” 2024 (oil, pastel and oil stick on suede matboard, 110 x 90 cm). | © Christina Kimeze, picture courtesy of the artist. Photograph: Matthew Hole
Set up view of “Christina Kimeze: Between Wooden and Wheel,” South London Gallery, London, UK (Jan. 31-Might 11, 2025). | Photograph: Andy Stagg
Set up view of “Christina Kimeze: Between Wooden and Wheel,” South London Gallery, London, UK (Jan. 31-Might 11, 2025). | Photograph: Andy Stagg
CHRISTINA KIMEZE, “Arches,” 2024 (oil, pastel and oil stick on suede matboard, 110 x 90 cm). | © Christina Kimeze, picture courtesy of the artist. Photograph: Matthew Hole
CHRISTINA KIMEZE, “Hovering (III),” 2024 (oil, pastel and oil stick on suede matboard, 210 x 165 cm). | © Christina Kimeze, Picture courtesy the artistPhotograph: Matthew Hole
Set up view of “Christina Kimeze: Between Wooden and Wheel,” South London Gallery, London, UK (Jan. 31-Might 11, 2025). | Photograph: Andy Stagg
BOOKSHELF
A new catalog was printed on the event of Christina Kimeze’s exhibition at South London Gallery. The amount paperwork the present, explores key themes of her apply equivalent to interiority, her use of supplies, connections to her father’s Ugandan heritage, and the affect of Black feminist writers. Contributors embrace Ekow Eshun, Alayo Akinkugbe, Margot Heller, and exhibition curator Eleanor Nairne.
