Sandra Mujinga
Drawing from post-humanist thought and speculative visions of the future, Sandra Mujinga explores the concept of body, its visibility and self-representation. Her new work, inspired by Christina Sharpe’s book Ordinary Notes, delves deeply into the themes of grief and bearing witness. The collection of sculptures composed of hand-sewn fabrics is presented at various heights, a decision influenced by Mujinga’s experiences working with vocalists. The varying heights symbolize a kind of musical composition, where the human-like figures seem to either ascend towards the heavens or teeter on the brink of collapse. In these works, the sculptures embody the non-linear nature of grief, where time bends and folds, and the world feels as though it is ending repeatedly. Grief becomes a complex and recurring phenomenon, as one mourns not only what has been lost but also what might have been.
Mujinga explores the idea that trauma can serve as a powerful tool for time travel, a concept
visually represented through use of fabric. The process of folding, gathering, and releasing fabric becomes a metaphor for the ways in which individuals cope with and
process trauma. The mantra of Unfold and Repair echoes throughout the work, serving as a
reminder to breathe and to allow the self to heal over time.
The work is presented in a space that blurs the boundaries between the sculptures and their environment. The room itself is painted in the same hue as the fabric used in the sculptures, creating an immersive and cohesive atmosphere where the figures seem to extend beyond their physical forms, merging with their surroundings. This deliberate choice in the design of the installation reflects Mujinga’s intention to create a world within a world – one where these bodies are not merely objects of observation but active participants in their own universe.
Drawing from post-humanist thought and speculative visions of the future, Sandra Mujinga explores the concept of body, its visibility and self-representation. Her new work, inspired by Christina Sharpe’s book Ordinary Notes, delves deeply into the themes of grief and bearing witness. The collection of sculptures composed of hand-sewn fabrics is presented at various heights, a decision influenced by Mujinga’s experiences working with vocalists. The varying heights symbolize a kind of musical composition, where the human-like figures seem to either ascend towards the heavens or teeter on the brink of collapse. In these works, the sculptures embody the non-linear nature of grief, where time bends and folds, and the world feels as though it is ending repeatedly. Grief becomes a complex and recurring phenomenon, as one mourns not only what has been lost but also what might have been.
Mujinga explores the idea that trauma can serve as a powerful tool for time travel, a concept
visually represented through use of fabric. The process of folding, gathering, and releasing fabric becomes a metaphor for the ways in which individuals cope with and
process trauma. The mantra of Unfold and Repair echoes throughout the work, serving as a
reminder to breathe and to allow the self to heal over time.
The work is presented in a space that blurs the boundaries between the sculptures and their environment. The room itself is painted in the same hue as the fabric used in the sculptures, creating an immersive and cohesive atmosphere where the figures seem to extend beyond their physical forms, merging with their surroundings. This deliberate choice in the design of the installation reflects Mujinga’s intention to create a world within a world – one where these bodies are not merely objects of observation but active participants in their own universe.
