Sheila Nakitende
Sheila Nakitende; photograph was by Peter Fabian courtesy of Underground Contemporary Art space.
Sheila Nakitende is a multidisciplinary artist and a mother from Uganda. She participated in the Kampala Art Biennale and the Kampala Art Auction in 2016. She is a recipient of the Parent residency grant from Women’s Studio Workshop New York USA in 2017 and has internationally exhibited her work in East Africa, South Africa, Europe and USA.
In our interview, she shares about her artistic journey, why the theme of womanhood is central to her work and her ultimate dream project.
Maama W'abaana II photograph was by Raisa Galofre courtesy of the artist
Give us a brief history of your artistic journey
I've always been interested in the arts, even as a child who had no idea what they were. Apart from making drawings due to lack of concentration during other lessons, I used to play traditional drums in the school choir and once in a while engaged in acting for school drama. Years later, I went to the Margaret Trowell School of Industrial Fine Art and Design in Makerere University, where I graduated with a Bachelor’s Degree in Industrial Fine Art and Design in 2005. I participated in international artist workshops and in 2007 I got a full-time job as a gallery manager at Tulifanya Art Gallery. This was when I got exposed to the contemporary art scene where I engaged further in art exhibitions, collaborations, more workshops and projects.
When did you decide to start creating?
I had been creating all my life but I started creating “professionally” after graduating from art school. I would get commissions for graphics, web and interior design projects outside of the contemporary art scene. However one pivotal moment was when I was working at Tulifanya Art gallery where I used to meet and interact with so many visual artists. One of them was Wasswa Donald who invited me to his Artpunch Studio in 2010 and encouraged me to start painting. He said I would do great practicing art. I quit my job at the gallery and became a full time practicing artist.
What are your favourite mediums?
I like to work with organic materials such as bark cloth, raffia, clay, bamboo. They are not only sustainable but readily available to us. We can grow and nurture a lot of these materials here. It feels most sensible for me to use something that I can relate to.
How do you choose which materials to use for your work?
It depends on what I am going to address, what materials are available to me, what techniques I will need to use. However sometimes it is random where it is a found object or material which inspires me to do something.
Maama W'abaana I, 139 x134cm, 2022 photograph was by Raisa Galofre courtesy of the artist
How does the theme of womanhood show up in your work?
Apart from lived experiences as a woman, in my work it is in the nurturing and use of natural materials specifically fibers to express situations. It's normal for most women to nurture. My process is not only drawn to use but care for the materials, develop a language with them, to record and keep the knowledge about them. Similarly, women are known to be custodians of things.
What influences your work's exploration of the theme womanhood?
Most of my work is drawn from personal experiences. In those moments as a woman, are layers of interactions with people, spaces, personal or communal challenges, lessons and solutions which are all life transforming. Once something affects you it’ll obviously influence your work process.
How would you describe your creative process?
I do theoretical and practical research. I read a lot of content that feeds my craft. The practical part of my work is very experimental. I allow myself to spoil, to fail and try a couple of times. It involves burning of materials, constructing through weaving, repairing by stitching and patching. When it comes to installation art, I love to engage with the space and sketch ideas. There are also moments when I collaborate.
What are your least and most favourite parts of professional art?
The professional art world at some point did not accommodate traditional art practices and techniques. Additionally, we should be able to describe art in our local dialect. There are some statements that can only be expressed in their local dialect to understand their depth.
What I love about professional art is that we can research, document, and archive information which then lives on.
Muddugavu, (Mask Edition), 2022 photograph was by Raisa Galofre courtesy of the artist
Do you have a network of artists on whom you rely, and how do you support one another?
Yes, there are a few artists with whom I have a personal relationship. Amidst all the serious work where we critic each other, share ideas and opportunities, we also do life together outside of the professional realm. We take fun trips and holidays, host each other at family events, advise and support each other in times of need. We’ve got each other’s backs.
What are your least and most favourite parts of professional art?
The professional art world at some point did not accommodate traditional art practices and techniques. Additionally, we should be able to describe art in our local dialect. There are some statements that can only be expressed in their local dialect to understand their depth.
What I love about professional art is that we can research, document, and archive information which then lives on.
Where do you see your market going in the next five years?
I am fortunate enough to have institutions who have expressed and shown interest in my work. I have been invited to participate in local and international exhibitions. Scholars have contacted me to contribute to their research, institutions have reached out to me to mentor their students. I have been approached to contribute essays to international publications specific to my knowledge and process on material culture. I am so grateful and therefore foresee a lasting market.
How has your work deepened a sense of personal awareness or growth for you as an individual and as an artist?
I had to learn to be patient not only with myself but with many other situations. I didn’t rush my work. It took me a very long time to establish a strong visual voice and identity. I had to learn live from within and stay focused in order to manage external influences that would possibly disrupt my work process and personal well-being. The results helped me realize that I'm a source of knowledge and helped me know that I can be of so much help to others.
How do you stay motivated through challenging times?
I listen to music, read, meditate, make meals, and pray. I try to manage what I consume visually and mentally. I also live in the moment with the people that I love and look for like-minded people to have sensible conversations with. I water my physical and mental gardens.
How would you describe your dream project?
My dream project is to become a source of knowledge, a reference and an inspiration to generations.
