This exhibition shows a selection of artworks by Donald Wasswa, Dr Lilian Nabulime, Odur Ronald and Xenson whose work present different approaches towards three-dimensionality in contemporary art from Uganda. From traditional sculpture to multi-media installation - 'Beyond Sculpture' aims to explore and encourage conversations between sculptural expression and other art forms, such as installation art, printmaking, poetry and performance art. As each artist offers their unique perspectives and methodologies, viewers are invited to engage with different subject matter and concepts of materiality, form, and space.
Beyond Sculpture presents a selection of sculptures by Donald Wasswa from 2017 to 2024. His multidisciplinary practice explores processes of social and environmental transformation, influences of science and technology, and the changing nature of communication in contemporary societies. Wasswa's objects suffer various forms of interference by carving, assembling and arranging. Through this process of material transformation, Wasswa imagines the secret lives of man-made objects and how they might in turn determine future humans.
For the sculptural installation Lives of Broom Heads (2024), Dr Lilian Nabulime transforms locally handmade broom heads into sculptures. She imbues the functional pieces with a sense of personality, highlighting the individuality of the handmade objects and the craftmanship each artisan puts into these common household items. Her sculptures retain the overall shape or essence of the original objects, while she skillfully reinterprets their form to allow the viewer to form an emotional connection with them.
With his multi-media installation Waagawulidde (2024), which translates from Luganda as "Have you heard it?", Odur Ronald delves into the themes of freedom of expression and freedom of speech. This piece continues the discourse initiated in Odur's previous works from the ongoing series The Art of Offense, which includes notable installations such as Ebyakaisaali (2020) and Muwawa (2021). The installation emerges from personal experiences with confiscation of some the artist's artworks and from personal observations in Uganda, where the press, particularly television, is predominantly used as a propaganda tool. In Waagawulidde, the artist revisits archival videos of when Uganda won its independence in 1962 and juxtaposes the idea of independence and freedom with the current atmosphere.
Xenson's multi-media installation Kiri Mukikapu (2024) draws inspiration from the Luganda saying Kiri muttu kimanyibwa nyini kyo, meaning "the contents of a tiny parcel are known by the owner." This proverb, deeply rooted in Ugandan culture, speaks to the intimate knowledge and understanding that only the possessor has knowledge of their own circumstances or possessions. Additionally, the artwork plays on the street slang Kiri Uganda, which can mean both "This only happens in Uganda" and "Inside Uganda," suggesting a nuanced commentary on the unique socio-political landscape of the country.
Curated by Lara Buchmann
