Artist on Paper |  Kenechi: The Muses | Editorial on Art Yourself Atelier

I was introduced to Nietzsche in 2013—I was uncomfortable, I became existentially impaired, and I was fascinated. He opened up a sense of awareness that the social contract created by man has been amended over time to maintain the system created by the masters of autocracy. We are only expected to think about the system designed to uphold the “good society,” never to question it, and, as one might put it, to “go with the flow.”

2013 was the first year of my adulthood—I received my broom, a tool that everyone used to sweep pain, disappointment, and negativity under the rug of “good society”—a rite of passage, if you will. I was not very good at keeping my area neat. Everything that was being disposed of or muffled, I wanted to stare at, understand, and tell someone, “It exists, it takes up space, so I beg the question: how can you expect me not to address it?”

I come from a place where the system was created to uphold the veil of paradise. I would always hear a catchy tune and sing, “It’s better in the Bahamas.” I, like many others, became a mascot. “Choose our Bahama land, where the sand is white and the water is clear for your next vacation—we are ready to serve.” Our leaders think of us—they sell land to hotel developers with the Bahamian workers in mind. They sell dreams of joviality, likening ourselves to a theme park.

There are some who take off the head of the mascot costume; they dare to look in the mirror and truly analyse their reflection. Afterwards, something feels amiss. They go out to express this strange form of enlightenment, but all “good society” can see is that their mascot head is no longer attached to the body. They’ll most likely hear someone from the crowd shout, “Chile, your head is no good!” To survive in Paradise, you must value the system, not be selfish, and realise the world owes you nothing, but you must give it your all.

From time to time, I take off my mascot costume—I can’t dispose of it entirely, as it still serves as a tool for coping, but it is blinding and air-restrictive. I’ve named these mascots The Muses. The concept of The Muses was inspired by the Rorschach Test. These figures are the outline of familiar imagery—figures drawn without any features that would make the subject matter distinguishable. This approach offers an invitation to the viewer to interpret what they see and feel when looking at the work. In a sense, I am holding up a mirror—the viewer gets to further understand their psyche and that of others. This is done in hopes that they, too, will feel uncomfortable in their costume and take it off to address the personal and social issues present.

The themes I’ve been focusing on are “Currency” and “Foundation”.

“Currency” delves into the complexities of the male gaze and its pervasive influence on the portrayal of female bodies within the creative sphere. This serves as an exploration of the objectification and dehumanisation of women under the guise of artistic inspiration. In our cultural landscape, women are often relegated to the role of muse, stripped of their agency, and reduced to mere vessels of pleasure. I endeavour to illuminate the unsettling reality that women’s bodies are frequently commodified and traded as currency. Drawing inspiration from Shakespeare’s The Merchant of Venice, particularly the infamous demand for a pound of flesh, this project confronts the notion of the female body as a transactional entity, subject to the whims and desires of the male gaze. By dissecting and spotlighting the body parts that are fetishised and objectified, I aim to provoke critical dialogue surrounding the pervasive influence of patriarchal constructs on our perceptions of femininity.

“Foundation” is an homage to The Raft of the Medusa by Théodore Géricault, a profound analysis of classism and the erosion of social contracts. The triangular formation of the figures symbolises the hierarchical structure of society, highlighting our collective surrender to the void of superficiality and greed. This work invites viewers to engage in a reflective journey, challenging preconceived notions of value and prompting a reevaluation of societal norms. It critiques the excessive drive to strive for excellence and power—often through violence and deceit. This structure is built to serve a deity of progress, a progress that promotes the façade of the “good society.”

Ultimately, both Currency and Foundation are extensions of the existential questioning that Nietzsche first inspired in me. They challenge not only the societal systems that hide under the guise of normalcy but also the individual’s role within these structures. I want to confront the systems of power that seek to commodify and control us, whether it’s the female body, social hierarchy, or the façade of paradise. By stripping away the masks, I aim to expose what lies underneath—how we have fallen victim to the constructs of "good society" and how, consciously or not, we continue to contribute to its perpetuation. The uncomfortable truths we are often too willing to ignore.

BIO.

I’d like to think of myself as an individual that loves to learn. I started my tertiary education with foundations in western philosophy and sociology, afterward, I pursued my bachelor’s with an honours degree in Fine Art. Initially, I wanted to unlock the world of aesthetics; I wanted to understand the different stan- dards of beauty in contemporary art and how to analyze the structure and meaning. My master’s program became the icing on the cake. My goal is to become a platform for other creatives. I remember when I started as a painter, I was told that I had to find a champion of the art to represent me. After working as the director’s assistant at The National Art Gallery of The Bahamas, I realised that I am that said champion. I loved the creative di- rection program because it gave me a deeper understanding of the creative industry through the lens of Fashion.

EXHIBITIONS

•    High Commission of the Bahamas - The Savoy (2024), London, UK
     Work selected to showcase in a group exhibition of Bahamian artists as part of the Bahamian independence celebrations.

•    Please Send Nudes, The Current: ECCHO (2024), Nassau, Bahamas
     Work selected to showcase in the group exhibition.

•    The Man in the Infamous Hat, The Current (2021), Nassau, Bahamas
     Selected work displayed for the gallery’s collection.

•    The Links Incorporated - ‘A Night of Hope’ (2019), Nassau, Bahamas

•    Alleviate Art Auction, The National Art Gallery of the Bahamas (2019), Nassau, Bahamas

•    Free Range Exhibition, The Truman Brewery (2018), London, UK

•    Leeds Arts University Degree Show (2018), Leeds, UK

•    ‘Framework’, The Old Red Bus Station (2017), Leeds, UK

•    ‘Y, Tho?’, Leeds Arts University (2017), Leeds, UK

•    ‘CMYK Exhibition’, Leeds Arts University (2016), Leeds, UK

•    ‘Art Ambition Competition’, Sapodilla (2014), Nassau, Bahamas

AWARDS

•    2018: Shortlisted for the “Run for Art” competition

•    2018: Awarded Best Collective for “Syzygy” at The Free Range Exhibition

•    2017: Shortlisted for “By Other Means” to showcase artwork in the “#killing it” series

EDITORIAL

•    2023: Artist feature in The Nassau Guardian titled “Painting and designing her path”

•    2021: “Art Thou” curated by Massimiliano Giornetti

•    2018: Artist feature in Minke Magazine