Somaya Critchlow’s debut solo exhibition in a UK public institution, The Chamber at Dulwich Picture Gallery, is a captivating exploration of history, mythology, and the female form. Critchlow, a London-based British artist, draws inspiration from the gallery’s collection of Old Masters, forging a dialogue between her contemporary vision and the historical narratives embedded within these iconic works.
The exhibition, aptly titled The Chamber, is housed in a single room, creating an intimate and immersive experience. Critchlow presents six new works, including three large-scale figurative paintings, along with sketches and selected Old Master paintings from the gallery’s collection. This deliberate juxtaposition invites viewers to engage in a visual conversation that transcends time, prompting reflection on the enduring power of artistic expression.
Critchlow’s fascination with the Old Masters, particularly the narrative paintings of Rubens, Lely, and van Dyck, is evident throughout the exhibition. She delves into the stories behind these works—stories rooted in religion, literature, mythology, and the imagination—exploring how these narratives often conceal complex power structures. In this context, Critchlow’s work finds resonance with Gerrit Dou’s Woman Playing a Clavichord (c. 1665), where a woman, seated in a chamber awaiting a lover, ambiguously holds the viewer’s gaze. This interplay of power, intimacy, and ambiguity echoes throughout Critchlow’s own paintings. Ovid’s Metamorphoses, an ancient epic poem, served as a recurring source of inspiration for Critchlow during the creation of her new works, particularly its exploration of transformation, identity, and shifting power dynamics within mythological narratives.
The Chamber is part of Dulwich Picture Gallery’s ‘Unlocking Paintings’ series, an initiative aimed at presenting new perspectives on the gallery’s collection. By inviting contemporary artists to respond to historical works, the series encourages a dynamic interplay between the past and the present, fostering fresh interpretations and a deeper understanding of the collection’s enduring relevance.
Dulwich Picture Gallery holds a significant place in the London art scene as England’s first purpose-built public art gallery. Founded in 1817, the gallery was designed by the renowned Regency architect Sir John Soane, whose innovative approach to illumination and spatial design created a unique environment for experiencing art. The gallery’s origins lie in the remarkable art collection amassed by Sir Francis Bourgeois and Noël Desenfans, who were commissioned to form a Royal Collection for the King of Poland in the late 18th century. When Poland was partitioned, the collection was bequeathed to Dulwich College, with the stipulation that it be made accessible to the public, thus establishing Dulwich Picture Gallery as a pioneering institution in the democratization of art.
Critchlow’s artistic techniques blend traditional and contemporary approaches. While she draws heavily from the classical poses and dynamic gestures of the Old Masters, she infuses her work with a modern sensibility, creating figures that are both timeless and distinctly of our time. Her paintings are characterized by a striking use of light and shadow, reminiscent of techniques employed by the Old Masters, where deep contrasts draw the viewer’s eye to intricate details: a cascade of pastel hair, the delicate texture of a sweater, or the curves of a body. This interplay of light and dark creates a sense of depth and drama, enhancing the emotional impact of her figures.
Critchlow’s influences are diverse, ranging from Renaissance and Rococo portraiture to the surrealism of Leonor Fini, and the contemporary aesthetics of reality television shows like Love & Hip Hop. In an interview, Critchlow mentions the influence of these shows—particularly the portrayal of strong female personalities navigating complex lives—as a source of inspiration for her own depictions of women. This eclectic mix of influences is reflected in her work, which seamlessly blends historical and contemporary elements, creating a unique visual language that is both familiar and unexpected. Additionally, the influence of Angela Carter’s The Bloody Chamber is evident in Critchlow’s exploration of female narratives and the subversion of traditional power dynamics often associated with fairy tales and mythology.
While the exhibition features a compelling collection of works, certain pieces stand out for their artistic merit and thematic resonance. One such piece is The Chamber II, a large-scale oil painting that depicts a Black woman in a reclining pose, her gaze both inviting and enigmatic. The painting’s composition and use of light and shadow evoke a sense of intimacy and vulnerability, while the figure’s direct gaze challenges the viewer to confront their own perceptions of the female form. The reclining pose, often associated with classical depictions of the nude, is reinterpreted here, imbuing the figure with a sense of agency and self-possession.
Another notable work is The Volleyball Intellectual, a smaller-scale painting that showcases Critchlow’s ability to capture both the physical and psychological nuances of her subjects. The woman in the painting, depicted in a contemplative pose with a volleyball in the background, embodies a sense of intellectual curiosity and self-awareness, challenging traditional representations of Black women in art. The juxtaposition of the figure with the volleyball, an object often associated with leisure and physicality, further underscores Critchlow’s subversion of stereotypical portrayals.
Critchlow’s unique style lies in her ability to reimagine historical narratives and artistic traditions through a contemporary lens. Her paintings are not mere imitations of the Old Masters but reinterpretations of their themes and techniques, infused with her personal experiences and perspectives. She draws inspiration from a wide range of sources, creating a visual language that is both deeply personal and universally relatable.
One of the defining characteristics of Critchlow’s style is her focus on Black female figures. By placing these figures at the center of her narratives, she challenges the historical underrepresentation of Black women in art, reclaiming their agency and celebrating their beauty and complexity. Her figures are often depicted in intimate settings, engaged in everyday activities, or lost in thought, inviting viewers to connect with them on a human level. As a Black British artist, Critchlow’s work is informed by her own experiences and observations, adding a unique perspective to her exploration of identity and representation.
Critchlow’s use of the nude is particularly significant in this context. Her figures, often depicted in states of undress, challenge the traditional gaze associated with the female nude in art history. By presenting Black women as subjects who command their own narratives and defy objectification, Critchlow reclaims the nude as a site of empowerment and self-expression. Her figures are not passive objects of the gaze but active participants in their own representation.
The Chamber sparks conversations about representation, identity, and the role of art in contemporary society. The exhibition’s impact extends beyond the walls of the gallery, contributing to a broader dialogue about the importance of diverse perspectives in the art world.
By engaging with the Old Masters and reimagining their narratives, Critchlow challenges viewers to reconsider their understanding of art history and its relevance to contemporary artistic discourse. Her work prompts reflection on the enduring power of art to reflect and shape our understanding of the world around us.
Somaya Critchlow’s The Chamber is more than just a visually stunning exhibition; it is a powerful statement on the role of art in contemporary society. By engaging with the Old Masters, Critchlow not only demonstrates her technical prowess and artistic vision but also challenges viewers to confront their own perceptions of history, representation, and the female form. Her focus on Black female figures—particularly her reinterpretation of the nude—reclaims agency and subverts traditional narratives, contributing to a vital and ongoing dialogue about identity and representation in the art world. The exhibition’s intimate setting within the historically significant Dulwich Picture Gallery further enhances the experience, creating a space for contemplation and dialogue between the past and the present. The Chamber is a must-see for anyone interested in contemporary art and its power to challenge, inspire, and provoke meaningful conversations.
4 February - 20 July 2025