Nassau/Love II & III (diptych)
Angelika Wallace-Whitfield (born 1993, Nassau, Bahamas) is a visual artist and curator. She attended the College of The Bahamas before transferring to the University of Kent to complete her undergraduate education in History & Philosophy of Art. She returned home in 2017 to manage curatorial work at both The Central Bank of The Bahamas and The Current: Bahamar Gallery and Art Center. Angelika is now a self-employed artist, specializing in murals and other public artworks.
Initially, Wallace-Whitfield thought it a form of resistance to not make art in response to COVID-19. It felt as if she was honouring it through her craft. However, to deny the current moment would have been a disservice to her practice and her experience in the pandemic: The process informs the product. Her works were originally studies of human interaction. She chose subjects whose genders are visually ambiguous through silhouette. The androgynous appearance of the figures takes presumption away from the interaction being sexual, in the traditional sense. Instead, they are conceptual representations of intimacy, and human interaction and exchange.
As media coverage on COVID-19 increased, so did her knowledge on how the virus spreads. The way it travels from one human or object to the next, unknowingly, without intention. Human interaction becomes a vehicle. COVID-19 made Wallace-Whitfield question the ways in which we impact everyone we are in contact with, physically, mentally, emotionally, in formative and reformative ways.
She began interrogating the cross-section of this experience: What else other than COVID-19 adheres in this way, as trace or evidence of human interaction; somatically, physiologically or otherwise? In what other ways are pieces of oneself left on or within others? How do the interactions one has with others, brief or long-term, impact them permanently? How do these evidences of interaction manifest themselves? How does one recognise which traits of others are of themselves, or of past interactions? Is it possible to trace the origin?
During the course of the pandemic, Wallace-Whitfield continued answering these questions by interrogating trace and highlighting its relation to human interaction. Trace is both genetic and organic, in nature; It relates to origin and journey. Human adaptability, especially pertaining to migration and racial mixing, emphasises the ambiguity of genetic trace. There has been much to dissect in both the physical and somatic areas of this, and the world displays that dissection.
Academic and National Awards & Positions
Honorable Mention, Central Bank of The Bahamas Annual Competition - Open Category, 2019
Kate Zaks Memorial Prize in Art History, 2016
University of Kent: School of Arts General Ambassador, 2015-Present
University of Kent: School of Arts Outreach Ambassador, 2015-Present
University of Kent: History of Art Representative, 2015-2017
Transforming Spaces, Group Exhibition, Popop Studios, 2013
AAA, Group Exhibition, National Art Gallery of The Bahamas, 2013
Annual Art Competition, Group Exhibition, Central Bank of The Bahamas, 2013
New New, Group Exhibition, Popop Studios, 2013
Father Knowledge, Mother Tongue, Solo Exhibition, Doongalik Studios, 2013
Luciano Benetton Collection’s Imago Mundi: Map of The New Art, Group Exhibition, Venice, 2014
Transforming Spaces, Group Exhibition, Doongalik Studios, 2014
Moments + Movements, Solo Exhibition, D’Aguilar Art Foundation, 2014
Flourish, Group Exhibition, D’Aguilar Art Foundation, 2015
#ArtIsLife, Group Exhibition, John Watling’s, 2016
Through The Screen Door, Solo Exhibition, Popop Studios, 2016
Transforming Spaces, 2018
FOUR, The Island House 2018
9th National Exhibition (NE9), National Art Gallery of The Bahamas, 2018
Transforming Spaces, 2019
Central Bank of The Bahamas Annual Competition - Open Category, Central Bank of The Bahamas, 2019
SMALL WORKS, The Current, 2019
Edition Total Count: 1
Edition Showfields Count: 1
14.5 X 14.5”
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