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https://freight.cargo.site/t/original/i/H1741742426295734771216259947156/Saint-George-St0817.jpg https://freight.cargo.site/t/original/i/M1741742426277288027142550395540/Saint-George-St0849-copy.jpg Puzzling Essay by Teresa Heinzelmann Puzzling, as a word, points in multiple directions: firstly, it describes the activity of getting lost in the small pieces that are part of a bigger picture, always with the goal of making sense of fragments. Onwochei-Garcia translates this meaning into her newest installation, as she’s creating the material conditions of her paintings out of multiple small squares. Whilst merging those single squares together, she’d leave some traces of this process visible, thus rendering the grid structure apparent as part of her texture. The images featured in Onwochei-Garcia’s presented collages are sourced from a myriad of paintings, murals and frescos depicting tumult, violence and battle. The artist investigated late medieval and early renaissance works during her residency in Florence, as part of the RSA John Kinross Scholarship. Her ongoing interest in allegory, comedy and theatre pulled her to moments of stylistic exaggeration, when brutality turns into grotesquerie. Her process—to cut out single moments of these historic paintings, commingling and re-arranging them in her own collages—resembles creating and playing with puzzle pieces. Only, by upsetting the proportions and re-combining the puzzle pieces, there remains a certain incoherence— a humorous, surrealist resistance that builds through all of Onwochei-Garcia’s work. Looking closely at Paolo Uccello’s work— whose work became a visual anchor for Puzzling—one discovers an overspill of geometrical decorative elements, whether that be rich fruits hanging between the sharp weapons cutting through gentle landscapes, the huge golden-red hat of the leader, or tremendously detailed ornamentation of the horses’ harnesses. Amidst the scenery of highest tumult, Uccello (*1397 near Arezzo, Italy) deploys fabulation to decorate the incident—making the viewer care less about the literal historic sequence, and instead be astonished by his dramatic theatricality. Onwochei-Garcia enhances Uccello’s narrative simultaneity—resisting a coherent and linear narration, whilst focusing on the dramatised, emotional expressions that she collected from various historic artworks. Secondly, one also can be puzzled— to feel irritated, baffled, helpless. And it’s this latter meaning that gets distilled in these painting/collages: ripped away from their original context and story, emphasised through fragment’s outlines on the backs, we’re confronted with sheer expressions. Shown is not violence itself, but rather its effects, as humans clasp their faces, mouths frozenly screaming. The bare emotional responses remain ambiguous, as the stylistic exaggeration renders the horrors ridiculous. This is not a depiction of violence, but rather its embodiment. Therefore, violence becomes intimate. An intimacy, that gets enhanced through Onwochei-Garcia’s spatial installation. She won’t allow us to distantly look at the open faces and turned bodies but forces us to stand amidst. We’re surrounded by them. Like for theatre plays, which were often the starting point for her previous work, the artist creates stage-like scenes for us to enter, to move between fragmented effects— creating, what Christina Sharpe describes as “intimate spaces of trauma, violence, pleasure, shame and containment.”1 The absence of context won’t allow any release of the expressed, emotional tension. Owing to Onwochei-Garcia’s technique, this tension gets carried in every fibre, as the imprint of the brushstrokes imbues the paper, presses through the presumed backside, leaving there an abstraction of affects. 1 Christina Sharpe (2010), Monstrous Intimacies. Making Post-Slavery Subjects. New Glasgow Society November 18-19, 2023 11am-5pm https://elenanonwochei-garcia.com/dramas-de-honor 2025-10-14T11:03:14+00:00 always 0.5 https://elenanonwochei-garcia.com/silencio 2025-10-14T11:03:15+00:00 always 0.5 https://freight.cargo.site/t/original/i/W861716811061360125123369970268/vertical.svg “¡Silencio!” Oil and tempera on washi 220 x 316 cm 180 x 316 cm The triptych explores how dynamics replicate themselves through generations and how the insularity of those relationships affirms and conditions their nature. The series draws on Garcia Lorca’s play La Casa de Bernarda Alba, a world which is exclusively governed by negation in its many forms: rejection, emptiness, sterility, absence of sensation, loneliness, seclusion and denial. https://freight.cargo.site/t/original/i/X1366522686321049355703952022164/elena-onwochei-garcia03.jpg https://freight.cargo.site/t/original/i/Q1366522686339496099777661573780/_DSC8003.jpg https://freight.cargo.site/t/original/i/C1366522686450176564219918883476/_DSC7980.jpg https://freight.cargo.site/t/original/i/T1366522686302602611630242470548/_DSC7897-2.jpg https://freight.cargo.site/t/original/i/M1366522686284155867556532918932/_DSC7895-2.jpg “¡Silencio!” Oil and tempera on washi 220 x 316 cm 180 x 316 cm The triptych explores how dynamics replicate themselves through generations and how the insularity of those relationships affirms and conditions their nature. The series draws on Garcia Lorca’s play La Casa de Bernarda Alba, a world which is exclusively governed by negation in its many forms: rejection, emptiness, sterility, absence of sensation, loneliness, seclusion and denial. https://freight.cargo.site/t/original/i/T1366522686394836331998790228628/_DSC7903.jpg https://freight.cargo.site/t/original/i/V1366522686431729820146209331860/_DSC7909.jpg https://freight.cargo.site/t/original/i/B1366601309830726135744044669588/_DSC7900.jpg https://freight.cargo.site/t/original/i/R1741750953948818886036328749716/20231109---Robert-Walters-Awards--UKNA-HIGH-130-copy.JPG https://elenanonwochei-garcia.com/a-communion-rite 2025-10-14T11:03:15+00:00 always 0.5 https://freight.cargo.site/t/original/i/W861716811061360125123369970268/vertical.svg https://freight.cargo.site/t/original/i/T1366604847731772032498949102228/IMG_7611.jpg https://freight.cargo.site/t/original/i/Y1366604847750218776572658653844/IMG_7634.jpg https://freight.cargo.site/t/original/i/V1367241538357854714685224852116/IMG_7647.jpg https://freight.cargo.site/t/original/i/Y1741745307031523042068388059796/Camden-Art-Centre-New-Contemporaries-Low-Res-51.jpg A Communion Rite featuring the Slave Leader, Tiresius and other characters, Pentheus and the Tricked King 2022 Oil and tempera on washi The painting draws from The Bacchae and Wole Soyinka’s A Communion Rite, plays whose message, that if your community identity is rigid and is not open to discussion without sides it may be destroyed, resonates with today’s polarisation. https://elenanonwochei-garcia.com/fly-on-the-wall 2025-10-14T11:03:15+00:00 always 0.5 https://freight.cargo.site/t/original/i/W861716811061360125123369970268/vertical.svg Fly on the Wall 2022 260 x 300 cm Oil and Chalk on Polycotton Fly on the Wall, a mediation on being a disguised figure in cultural history, was born out of a concern that the decision to call one’s self black, when it is not physically apparent, is contemporarily cast as a moral issue rather than a matter of genetics of parentage. https://freight.cargo.site/t/original/i/I1366614346458357675537234074260/DSC_0884.jpg https://freight.cargo.site/t/original/i/X1366614346476804419610943625876/DSC_0905.jpg https://freight.cargo.site/t/original/i/B1366614346421464187389814971028/DSC_0885.jpg https://freight.cargo.site/t/original/i/E1366614346329230467021267212948/DSC_0890.jpg https://freight.cargo.site/t/original/i/C1741747386717449912083237247636/NC-G1-5-copy.jpg Fly on the Wall 2022 260 x 300 cm Oil and Chalk on Polycotton Fly on the Wall, a mediation on being a disguised figure in cultural history, was born out of a concern that the decision to call one’s self black, when it is not physically apparent, is contemporarily cast as a moral issue rather than a matter of genetics of parentage. https://elenanonwochei-garcia.com/diagram-of-(the-bacchus)-society 2025-10-14T11:03:15+00:00 always 0.5 https://elenanonwochei-garcia.com/a-comedy-of-race 2025-10-14T11:03:15+00:00 always 0.5 https://freight.cargo.site/t/original/i/M1367252305076734496370668804756/IMG_7245.jpeg The Nigerian Account/Taxi Driver Oil on Canvas 150 x 100 cm 2020 https://freight.cargo.site/t/original/i/F1367252305058287752296959253140/IMG_7115.JPG The Roots and Culture Lawyer in Prison Oil on Canvas 101 x 82 cm A Comedy of Race 2020 As race exists insofar as people use it to identify themselves and others racially it is susceptible to changes in the ideological climate. Comedy provides insight into such relations, its presses upon the root of which is often fractious to discuss, it draws on the contradictions of social conventions and the release of laughter confirms a shared belief between the audience and the originator. A Comedy of Race, an installation of six portraits and wall panels traces how characterisations of race in comedy performances have evolved. It contrasts seventeenth-century Spanish court’s jester performances with Felix Dexter’s comedy about the trials of being black in 1990’s Britain. This installation focuses on the dynamics between the creator, performer and the audience around the subject. https://freight.cargo.site/t/original/i/Y1367252305039841008223249701524/IMG_5426.jpeg Floyd Honeybuns, the Boxer Oil on Canvas 225 x 184 cm https://elenanonwochei-garcia.com/x,-un-mestizo 2025-10-14T11:03:15+00:00 always 0.5 https://elenanonwochei-garcia.com/septimius-severus 2025-10-14T11:03:15+00:00 always 0.5 https://elenanonwochei-garcia.com/exhibitions 2025-10-14T11:03:15+00:00 always 0.5 https://elenanonwochei-garcia.com/mailing-list 2025-10-14T11:03:15+00:00 always 0.5 https://elenanonwochei-garcia.com/info 2025-10-14T11:16:54+00:00 always 0.5 https://elenanonwochei-garcia.com/nav-at-bottom 2025-11-11T09:53:06+00:00 always 0.5 https://elenanonwochei-garcia.com/info-button 2025-10-14T11:03:14+00:00 always 0.5