A powerful and ambitious concept
Marie-Claire Messouma Manlabien’s first solo-UK exhibition promises to take visitors on a journey to heal generational trauma, through transporting them into their embodied memories, writes Aneela Aslam.
Textiles are an important part of African history and culture and it’s no surprises that the giant, divine tapestries, full of colour and life, are used by the artist to confront painful memories and resist ideas of French colonialism. They capture the entire energy of the show as you enter, with the central message of the beautifully stitched artworks being that women are the centre of the universe, at least it seems that way for Marie Claire.
The bright hues of blue and orange reflect an idealistic universe with a uterus at its centre, surrounded by stars, moons and planets. The uterus becomes a representation of womanhood and made the central gravitational force of artist’s cosmos.
Additionally, Mémoires des corps particularly shines due to the delicately selected details. The faces on the handcrafted talismans found hanging off the tapestries and across the exhibition, tell the story of a deep-rooted trauma; their glum looks contrast with the optimistic colours of the hangings, suggesting to us that despite a dazzling exterior, there is pain deeply embedded in the art. Generational trauma and grief come to life through her artistic expression.
For many women – especially women of colour – staring at these haunting faces from Akan mythology, inspired by the artist’s Ivory Coast heritage, reflects the burden of the modern woman: The unique opportunity to choose our own paths and live a life based on our own rules.
The show is also vibrant and logistically impressive. Structured and methodical strings filled with stones hang around the gallery. Glimmering, and there to ward off negative energy, the stones craft a space of reverie and tranquillity, and mimic the structure of a tapestry. Dried flowers, strategically placed around the space in hand-thrown ceramics, act as a testament to traditional healing cultures.
Marie-Claireshould be applauded for her mastery of multiple artistic mediums. Her pottery is especially classic and beautiful, an unappreciated aspect of her art that might be missed if you don’t glance down and pay attention whilst visiting.
However, the display is let down by some poor staging choices; the pale coral walls drain the energy of the art and clash with the powerful colours on show. White walls might have done more to balance the brightness of the tapestries.
The show was also let down by the presentation of some items, especially the necklaces which just seemed anchored to the wall. A different method of showcasing the magnificently crafted jewellery would have elevated them. Dimmer lighting could have also been considered.
Nevertheless, Marie-Claire’s artistic power lies in her ability to weave delicate symbolism into the intricately placed details. You must look closely at her work and with purpose, to understand the embodied memories at the centre this exhibition.
Gasworks, 155 Vauxhall Street, SE11 5RH until December 14th.
Full details: https://www.gasworks.org.uk/
