In a powerful intersection of history and creativity, Charmaine Watkiss is set to unveil her latest works at the Royal Albert Memorial Museum (RAMM) in Exeter, challenging the enduring legacies of colonialism and the erasure of Black narratives. Her new exhibition, “Charmaine Watkiss: For the Ones Who Came Before,” opens on 10 February and runs until 16 August, promising to engage visitors in a dialogue about generational trauma, identity, and reclamation through art.
A Journey Rooted in Personal History
Charmaine Watkiss’s artistic journey is deeply intertwined with her heritage. As a child, visits to G Baldwin’s herbalist shop in Elephant and Castle marked formative experiences. There, she learned the significance of natural remedies, particularly within the context of her family’s Windrush legacy. “It was a resource for Black women in the 1970s and 80s,” she recalls. “You could walk in and say, ‘I’ve got this ailment,’ and they would know exactly how to help.” These memories ignited a quest for knowledge that led to her first major exhibition, “The Seed Keepers,” in 2021, where she explored the botanical connections between the Caribbean, the UK, and Africa, revealing how ancestral wisdom has persisted despite the horrors of the transatlantic slave trade.
Watkiss’s artwork often features large, illustrated portraits of Black women alongside medicinal flora, a homage to the survival skills that enslaved individuals relied upon. This fusion of art and history allows her to weave narratives that have often been silenced, creating a visual language rich with cultural significance.
Engaging with Museum Collections
Invited to create new pieces for RAMM, Watkiss faced the challenge of addressing the museum’s holdings, particularly its display on West Africa, which she found lacking in representation of the diaspora. “I needed to speak to the people who were taken away from the continent—my ancestors,” she states. This prompted her to explore sculpture, moving away from her traditional drawing methods. One highlight of her new work is a mask inspired by Mukenga helmet masks from the Kuba Kingdom in the Democratic Republic of the Congo, crafted from materials like cowrie shells and glass beads. “My mask will sit alongside others from Africa,” she explains, “creating a dialogue that acknowledges both the past and present.”
In addition to the sculpture, Watkiss has created a watercolour piece integrating elements from the museum’s collection, including a nkisi figure, traditionally associated with healing and protection. “With sculpture, I work intuitively; with drawing, it’s more systematic,” she elaborates. This adaptability showcases her ability to engage deeply with her materials while remaining rooted in her historical context.
Overcoming Challenges and Prejudices
Watkiss’s path to becoming a recognised artist has not been without its obstacles. Initially working as a footwear designer in the late 1980s, she faced discrimination within the industry, leading her to pivot towards film studies. A particularly discouraging moment came when a lecturer asserted that Black contributions to Western civilisation were negligible. In response, Watkiss dedicated her dissertation to disproving that claim.
By 2015, she had formulated a plan to transition into the art world. “I had no idea how I would achieve it, but I was determined,” she reflects. After completing a foundation course at City Lit in London, and later, an MA in illustration at Wimbledon School of Art, she took a leap of faith in January 2020, shutting down her old website to fully embrace her new identity as an artist. This moment of transformation was partly influenced by her practice of reiki, which taught her the importance of intention and the courage to embrace uncertainty.
A Critical Engagement with Historical Narratives
Watkiss is no stranger to confronting complex histories through her art. She has previously held research fellowships at esteemed institutions like the Natural History Museum and the British Museum, seeking to unearth the stories behind historical collections of healing plants, many of which were gathered by enslaved Africans. One notable commission currently displayed at the National Portrait Gallery reimagines a woman described in an 18th-century text by Hans Sloane, who was both a collector and a slave owner. In her interpretation, Watkiss places the healer at the forefront, depicted as a regal figure replete with symbols of empowerment, such as the Akan sankofa bird, which represents the importance of looking back to move forward.
The artist acknowledges the challenges of addressing such a fraught legacy, stating, “It’s a hard, complicated history. That trauma is generational; it’s in our DNA.” Yet, through her work, she aims to reclaim narratives that have been marginalised, providing a voice to those historically silenced.
Why it Matters
Charmaine Watkiss’s exhibition at RAMM is not merely an artistic showcase; it is a vital act of reclamation and dialogue. By confronting the legacies of colonialism and the omissions in historical narratives, Watkiss invites viewers to engage with their own understanding of identity and heritage. Her work serves as a reminder of the resilience embedded within generational trauma and the necessity of acknowledging the past to forge a more inclusive future. In an age where representation and historical accuracy are critical, Watkiss’s art acts as a beacon of hope and a powerful call to action for cultural recognition and healing.
