Navigating the Liminal: Agnes Waruguru's Artistic Journey

Navigating the Liminal: Agnes Waruguru's Artistic Journey

Dr. Sara Bint Moneer Khan

‍Agnes Waruguru's artistic journey has evolved significantly since her debut solo exhibition, Small things to consider, premiered at Circle Art Gallery in 2020. Hailing from Nairobi, Kenya, she holds a BFA from the Savannah College of Art and Design, USA, and her work has graced exhibitions across continents, from Europe to South Africa, Brazil to Kenya. Waruguru participated in the Stellenbosch Triennale, received a nomination for the Volkskrant Beeldende Kunst Prijs 2022, and completed a residency at the esteemed Rijksakademie in Amsterdam.

‍Fast forward to 2024, and Waruguru stands on the precipice of a pivotal moment, her sprawling body of work Incomprehensible Weather in the Head (2024) showcased at the venerable 60th International Art Exhibition La Biennale di Venezia. This not only catapulted Waruguru onto the global stage but also sparked introspection into the evolution of her practice and the myriad influences shaping her creative vision.

Reflecting on this artistic journey with her, I delve into the eclectic array of materials and techniques that define her creative repertoire. From tie-dye and fabric collages to printmaking with nettings, her practice exudes an experimental ethos, driven by an insatiable curiosity to explore the boundless potential of each medium. Recounting her academic pursuits, Waruguru reveals a departure from traditional painting early on, opting instead for forays into collage, sculpture, and embroidery. For Waruguru, the allure lies not just in the material itself but in the nuanced interplay between materiality and message, a quest to unearth the most resonant means of expression. 

Circling back to Waruguru's solo exhibition, Small things to consider (2020) at Circle Art Gallery offered a glimpse into the thematic underpinnings of her work-specific observations, and ‘memoryscapes’, as she refers to them. Drawing inspiration from her environment, Waruguru imbues her creations with an evocative essence, transcending mere representation to evoke visceral responses. Central to this process is Waruguru's keen sense of observation, as she meticulously collects fragments of daily life during her walks, harnessing the power to distil fleeting moments into enduring artistic impressions.

Waruguru's oeuvre exudes an unmistakable intimacy—a sentiment echoed not only in the final product but in the very act of creation. Viewers are invited into Waruguru's inner sanctum, where each work serves as a testament to her personal journey, a refuge of tranquillity amidst the chaos of contemporary existence. Whether through delicate embroidery or intricate printmaking, Waruguru invests herself fully in each artwork, infusing it with a profound sense of emotion and contemplation.

As her work transitions from the private to the public, from studio to exhibition, Waruguru, like many artists, grapples with the challenge of creating immersive experiences that resonate with viewers on a visceral level. From enigmatic pieces that drape effortlessly to meticulously curated spatial arrangements, every aspect of Waruguru's practice is imbued with a sense of intentionality.

I'm intrigued by the evolution of her work since her inaugural solo exhibition and curious about the trajectory of her practice moving forward, as well as the ongoing influences that shape her creative vision. 'My practice has had more time to deepen and expand and I am working across all sorts of mediums and being driven by ideas,’ she eloquently reflects. The transformative power of her environment becomes palpable. 'My change of environment has brought along new interests and exposure to new materials and techniques.’ This shift has not only broadened her artistic horizons but has also prompted contemplation on themes such as memory, grief, and spirituality, imbuing her work with layers of depth and introspection.

Waruguru’s creative process is deeply rooted in a series of rituals and daily practices, meticulously crafted to foster a connection with her art and surroundings. 'I have several rituals, such as cleansing my textiles in salt water before working on them,' she explains, 'and prioritising walks, particularly during residencies, to acquaint myself with my environment and gather materials.' These rituals serve as moments of introspection, allowing her to gain a deeper understanding of her surroundings and cultivate curiosity about elements such as city planning, indigenous plants, and local home-making practices.

Her artistic influences span a diverse spectrum, weaving together to form a rich tapestry of inspiration that guides her creative journey. 'I am always looking to artists such as Wangechi Mutu, Jessica Stockholder, Eva Hesse, Louise Bourgeois,' she shares. 'I also look at women working in the markets in Kenya, basket making, beadwork, and the crafts my mum taught me of crochet and embroidery.'

In examining Waruguru's work alongside that of her influences, striking similarities and crossovers emerge. Despite the distinct artistic approaches and backgrounds of Mutu, Stockholder, Hesse, and Bourgeois, all four artists share a drive to push the boundaries of conventional artistic practices. They pioneer innovative techniques and explore unconventional materials to craft thought-provoking and visually captivating works. Waruguru's own experimentation with various mediums and her keen exploration of materiality echo the innovative spirit of these artists.

Furthermore, like Mutu, Stockholder, Hesse, and Bourgeois, Waruguru delves into deeply personal, but universally resonant subjects. Her thematic exploration spans from memory and observation to identity and spirituality, resonating with viewers and sparking introspection and dialogue. Waruguru, like these artists, also contributes to ongoing dialogues surrounding diversity, inclusion, and representation within the art world. Through her unique perspectives and experiences, she challenges hegemonic narratives and amplifies marginalised voices, fostering greater awareness and empathy within society.

The enduring legacies of Mutu, Stockholder, Hesse, and Bourgeois underscore the timeless relevance and importance of their contributions to contemporary art and culture. Similarly, Waruguru's reimagining of beauty and identity, her reshaping of spatial dynamics, and her exploration of psychological and emotional landscapes continue to inspire and provoke, transcending temporal and geographical boundaries. In this way, for me, Waruguru stands alongside these luminaries, enriching our understanding of the world and ourselves. 

Reflecting on her experience of the Venice Biennale, she shares insights into the challenges faced in preparing her installation. 'I was lucky to have visited The Milk of Dreams, the previous edition of the Biennale,' she reminisces. 'It allowed me to understand the scale I could work at and the different venues that would be holding the exhibition.'

As she contemplates the impact of her work on the global art community, Waruguru articulates her aspirations for the Biennale to serve as a beacon of inspiration for artists worldwide. 'I hope with this edition of the Biennale it is a statement to artists all over that we can be on such a stage and hold our ground,' she declares passionately. 'I hope it’s a sign that artists can hold space for tender encounters and even encourage this tenderness to the audience.'

Waruguru extends an invitation to audiences to engage deeply with her work, to explore its nuances, and to ponder the transformative power of art. 

'I hope whoever gets to see the work can spend time with it,' she expresses warmly. 'And perhaps leave thinking about how one’s perspective can be shifted in a second.' 

Her journey, she hopes, will serve as a testament to the resilience of the human spirit and the boundless possibilities of artistic expression. 

As Waruguru continues to explore the intersections of memory, observation, and materiality, her journey promises to be as captivating as the works she creates. Rooted in her Kenyan heritage, Waruguru's artistic sensibilities are imbued with a profound reverence for tradition and a keen awareness of the ever-shifting contours of modernity. Drawing inspiration from the vibrant tapestry of life she seamlessly weaves elements of identity, belonging, and diaspora into her work, inviting viewers to contemplate the intersections of personal and collective history.

At the heart of Waruguru's practice lies a commitment to fostering inclusivity and accessibility within the art world—a mission underscored by her efforts to create exhibitions that feel welcoming and approachable to audiences of all backgrounds. In a world often fraught with division and discord, Waruguru challenges preconceived notions of who belongs in gallery spaces and who holds the power to engage with art. So doing, she endeavours to democratise the artistic experience, fostering a sense of community and connection that transcends geographical and cultural boundaries.

Waruguru's unwavering commitment to her craft is palpable, infusing every aspect of her artistic journey with purpose and dedication. Whether she is immersed in the quiet solitude of her studio or navigating the vibrant energy of the exhibition space, her passion for creation shines through, driving her forward in both thought and action. Her journey serves as a captivating testament to her artistic alchemy. In her skilled hands, the commonplace transforms into the extraordinary, the ordinary coalesces with the sublime, and transient instants are forever etched into the fabric of eternity.

Cover artwork: Installation view of Agnes Waruguru’s Incomprehensible Weather in the Head, 2024. Acrylic paint, natural pigment, pastels, charcoal, saffron, salt and ink on cotton, with glass beads and sisal string, 1000 x 600 cm. Photo by Ben Davis.

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