Review: Sharon Walters: Seeing Ourselves at HackelBury Fine Art

The histories of marginalised communities in historically European cultural and heritage institutions can often risk perilous falsehood, misrepresentation, and erasure if these establishments lack the cultural competence to interpret them accurately. The scarcity of complete archival records exacerbates these concerns, mainly when vital collections are consigned to the deepest depths of the museum. Such distortions in historical representation perpetuate systemic inequalities, hindering future generations’ access to a comprehensive understanding of their heritage through scholarly avenues in a post-colonial art world. 

Those actively decolonising these sectors occupy prominent roles in these spaces, repeatedly sparking taxing but necessary conversations essential for fostering a culturally inclusive art world. We have seen examples of erasure more recently in the media, such as the case of Bélizaire and the Frey Children,(1837) painting. That garnered significant media attention in 2023 when it was revealed that the image of a mixed-raced enslaved teenage boy had been obscured by an overpainting, effectively erasing him from history for around 100 years.

Enter London-based artist Sharon Walters (b. 1975), whose singular goal has been to ensure that positive depictions of Black people across all arenas are intrinsically reflected in these spaces. “If we don’t see ourselves represented back, it can act as a barrier to not succeeding”, says the artist. Who has actively continued the dialogue surrounding this conversation with practitioners within the heritage sector. For the last six years, she has fostered discussions to bring about change within these very infrastructures. Through her podcast ‘Seeing Ourselves’ supported by the National Maritime Museum in Greenwich, London. Walters expands on this ongoing series in her first solo exhibition in London, titled ‘Seeing Ourselves’, inspired by Frances Borzello’s book of the same name. Moving the discussion from an auditory to a more expansive artistic platform. 

When Walters was brought to my attention, I was surprised to learn that an artist with a two-decade career had never had a solo exhibition in London. She openly acknowledges that she wasn’t ready before, “My Nan always said nothing before it’s time…”I finally feel seen, and I finally feel heard; this work is about Black women”…” I really feel it’s important we take up space, and we create our own spaces.” She continues, echoing her grandmother’s wisdom in her speech. The exhibition opened at HackelBury Fine Art in Kensington. The turnout was overwhelmingly positive, with crowds spilling onto a tranquil street with flutes of bubbly in hand.

The gallery, known for having 20th-century artists like Henri Cartier-Bresson and Malick Sidibé on their rostrum, now embraces a new wave of contemporary artists, including Walters, whom the gallery now represents. As I navigate through enthusiastic attendees within the intimate confines of the gallery space, one is immediately drawn into Walters’ mesmerising tapestry of introspection. Using contemporary mediums such as magazine clippings to craft collages, textiles, paintings, and photography to create deeply meaningful visuals centred on Black women.

Walters’ approach to portraiture is particularly compelling, especially her cut-out portraits, which masterfully blend graphic and painterly elements positioned within a black frame against white archival paper. She skilfully integrates overlapping collages, negative space, and photography in works such as ‘Exhale’ (2020-24) and ‘Letting Go’ (2023). The cut-outs in ‘Exhale’ (2020-24) resemble line hatching; when seen this way, it almost appears as tribal scarification often seen in certain African cultures. The image references an early photo of the artist with a shaven head, suggesting a departure from conventional norms or expectations and embracing her bold identity. Her curt smile and signature purple lipstick add a touch of individuality and perhaps a nod to femininity or self-expression.

Letting Go’ (2023) displays a faceless side profile of the artist with both hands held together. While the artwork exudes subtlety in its niceties, it contemplates the universal experience of relinquishing attachments that no longer serve us and embracing change. 

In her self-portrait, ‘Fractured Introspection‘ (2024), the shadows behind the work outline the surrounding spaces where her clothing should be are an integral part of the composition. These shadows create a haunting sense of duplicity, accentuating the intricate details of her art and offering new ways of seeing. Seated with legs crossed and eyes closed, we see discernible rested hands and bare feet; the artist is seemingly lost in thought or possibly meditating, prompting a deeper interrogation.

Despite earlier criticism that she was not a painter—a blow that nearly shattered her confidence—one particularly striking large portrait, the largest piece in the show, ‘Multiplicity of Being’ (2024), evokes the style of Matisse’s blue nudes. The presence of blue softens the work as you gaze upon the portrait; ghostly, painterly figures exhibit subtle shifts in posture and placementfrom end to end, creating a rhythmic flow throughout the piece. But it also marks the artist’s triumphant reintroduction of painting into her artistic practice.

This invites viewers to ponder the enigmatic nature of identity formation, prompting a deeper interrogation of the forces that shape who we are and who we aspire to become.

‘Serenity’ (2024) is another work that celebrates Black womanhood, depicting its subjects in restful and reflective states. In this captivating portrayal, the artist, though faceless, reclines upon a sofa veiled by a delicate sheet, immersed in the familiar home setting. This intimate self-portrait offers glimpses into moments of vulnerability, offering audiences a poignant, empowering, and celebratory exploration of the multifaceted nature of Black womanhood.

In response to the underrepresentation of Black women in the mainstream channels, Walters offers a counternarrative that reflects the richness of her subjects’ lived experiences. By operating in the per view that she understands. The visual homage serves as both a mirror and a beacon, acknowledging Black women’s profound and transformative influence across diverse domains. But if ever there was a moment to foreground blackness, the time is now. 

More prominently than ever before, 2024 has witnessed a remarkable uptick in exhibitions featuring Black artists within traditionally white-dominated institutions across the capital, and this shows no signs of abating. February kicked off a string of successful exhibitions such as Soulscapes at the Dulwich Picture Gallery, Entangled Pasts, 1768–now: Art, Colonialism and Change at the Royal Academy, The Time is Always Now: Artists Reframe the Black Figure at The National Portrait Gallery and most recently Yinka Shonibare CBE: Suspended States first solo show at the Serpentine.

Across the pond, the 60th La Biennale di Venezia sees revered practitioner John Akomfrah (b.1957) make waves as the selected representative for Great Britain. Ethiopia also marks its inaugural Pavilion presence with painter Tesfaye Urgessa, (b.1983) bringing his debut exhibition ‘Prejudice and Belonging’ to global audiences.

Are Black artists finally getting a seat at the table? Is the art world beginning to acknowledge the significance of incorporating diverse points of view to enrich their collections? Will our records contain more than just a footnote? Only time will tell.

Following the success of her commission by the National Portrait Gallery, which depicted race equality champions Eric and Jessica Huntley, the artwork was initially showcased at Gunnersbury Park Museum. Now acquired by the National Portrait Gallery as part of their permanent collection, will be unveiled to audiences in July 2024.

Sharon Walters: Seeing Ourselves at HackelBury Fine Art until 6th July 2024

About the artist

Sharon Walters (b. 1975)  is a London-based artist and project curator whose series entitled Seeing Ourselves, is an exploration of identity, beauty standards, and race through intricate paper cut outs and hand-assembled collages. Since graduating with a degree in Fine Art from Central Saint Martins (University of the Arts) in 2011, Sharon has developed her practice and continued her work with community arts organisations, galleries and museums, using them as platforms to explore and collaborate with voices of those who are often excluded and unheard.

So often blackness is referred to as ‘other’. Sharon provokes an alternative narrative centred on empowerment. Each piece is a reaffirmation of the right to ‘take up space’, even when you don’t see yourself reflected back. A need to create our own spaces is an important part of Sharon’s practice. Each carefully constructed collage features a black person. Sharon’s unique approach extends through to her talks, podcast series, events and project curation. This body of work explores representation in many arenas including arts, heritage and the media.  

Recently, she was part of “Like Paradise” at Claridge’s ArtSpace, London (2023), curated by Ekow Eshun, and directed performed extracts from ‘The Interesting Narrative of the life of Olaudah Equiano,’ displayed in Black Atlantic at Fitzwilliam Museum, Cambridge (2023). Previously, Sharon had a solo exhibition at Midlands Arts Centre, Birmingham, England (2022), and was included in group exhibitions at Sophie Tea Art Gallery, London (2020); The Chapel Gallery, London (2019); and Gunnersbury Park Museum, London (2019). In 2022, she was commissioned by the National Portrait Gallery, London, to create a portrait of race equality campaigners and radical publishers Eric and Jessica Huntley. The piece was on display temporarily at Gunnersbury Park Museum, London (2023) before heading to the National Portrait Gallery.

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