NPA Lab | 2022
Baroque Anarchist + Natasha Muluswela
Baroque Anarchist is the alter ego of Alexandra Suvorova, a London-based, visual artist, who sees striking parallels between the contemporary moment and the Baroque epoch, which she mines for artistic guidance and inspiration. Born in the 1986 Chornobyl Disaster, the artist has always been fascinated by the quest for immortality through science and art, and the vulnerability and strength of the body.
Natasha Muluswela is a visual artist whose intricately detailed drawings explore body positivity whilst simultaneously shaking off the white gaze. Another facet of her work is the exploration of the human condition of migration and what it means for Africans to take up space away from the Diaspora. Challenging her views on not only Africa’s political past and present but its potential and future through art.
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Baroque Anarchist
‘The Beauty of Rebellion’ (2021)
Oil on canvas, chalk on paper, mirror, clay (300 x 150 x 50cm)
I have been researching the topic of immortality through new biotechnologies from a feminist perspective and have discovered a significant, misrepresented social issue regarding infertility and the oppression of women. This theme is closely connected to my personal experience, art practice, and interest in a dystopian urban future. I believe it is crucial for society to hear my voice on this issue, as the struggles of women with infertility, IVF, miscarriages, and childbirth are still stigmatized.
Baroque Anarchist
‘Genesis’ (2021)
Oil on canvas, chalk on paper, mirror, clay (300 x 150 x 50cm)
I have been researching the topic of immortality through new biotechnologies from a feminist perspective and have discovered a significant, misrepresented social issue regarding infertility and the oppression of women. This theme is closely connected to my personal experience, art practice, and interest in a dystopian urban future. I believe it is crucial for society to hear my voice on this issue, as the struggles of women with infertility, IVF, miscarriages, and childbirth are still stigmatized.
Baroque Anarchist
‘Medusa’ (2022)
Oil on paper (150 x 240cm)
I have been researching the topic of immortality through new biotechnologies from a feminist perspective and have discovered a significant, misrepresented social issue regarding infertility and the oppression of women. This theme is closely connected to my personal experience, art practice, and interest in a dystopian urban future. I believe it is crucial for society to hear my voice on this issue, as the struggles of women with infertility, IVF, miscarriages, and childbirth are still stigmatized.
Baroque Anarchist
‘Wife of Babylon’ (2021)
Mixed media/paper triptych (150 x 270cm)
I have been researching the topic of immortality through new biotechnologies from a feminist perspective and have discovered a significant, misrepresented social issue regarding infertility and the oppression of women. This theme is closely connected to my personal experience, art practice, and interest in a dystopian urban future. I believe it is crucial for society to hear my voice on this issue, as the struggles of women with infertility, IVF, miscarriages, and childbirth are still stigmatized.
Baroque Anarchist
‘Time Holes’ (2021)
Photo (20 x 30cm)
I have been researching the topic of immortality through new biotechnologies from a feminist perspective and have discovered a significant, misrepresented social issue regarding infertility and the oppression of women. This theme is closely connected to my personal experience, art practice, and interest in a dystopian urban future. I believe it is crucial for society to hear my voice on this issue, as the struggles of women with infertility, IVF, miscarriages, and childbirth are still stigmatized.
Baroque Anarchist
‘Medusa’ (2022)
Pigments on canvas (150 x 100cm)
I have been researching the topic of immortality through new biotechnologies from a feminist perspective and have discovered a significant, misrepresented social issue regarding infertility and the oppression of women. This theme is closely connected to my personal experience, art practice, and interest in a dystopian urban future. I believe it is crucial for society to hear my voice on this issue, as the struggles of women with infertility, IVF, miscarriages, and childbirth are still stigmatized.
Baroque Anarchist
‘Judith’ (2021)
Oil on canvas (150 x 160cm)
I have been researching the topic of immortality through new biotechnologies from a feminist perspective and have discovered a significant, misrepresented social issue regarding infertility and the oppression of women. This theme is closely connected to my personal experience, art practice, and interest in a dystopian urban future. I believe it is crucial for society to hear my voice on this issue, as the struggles of women with infertility, IVF, miscarriages, and childbirth are still stigmatized.
Reflections on peer to peer mentoring
Baroque Anarchist
I am thrilled to be a part of the Peer to Peer mentoring program. It has not only inspired me but also ignited my creativity. The opportunity to learn from and collaborate with my peers is invaluable and I am excited to see where this experience will take me. I am grateful for the guidance and support provided by the program, and I look forward to the growth and development it will bring.
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Natasha Muluswela
‘Boys in Blue’ (2022)
Coloured pencils on paper (28 x 42cm)
The common theme we found linking our work was realism and our love for detail. Finding out that we were perfectionists in our own ways led into a discussion of knowing when a work is deemed ‘complete’. We decided to challenge each other about what this meant. We came up with the idea of giving the other person control of the work and when it is deemed ‘done’.
Natasha Muluswela
‘The Market’ (2022)
Graphite on paper (32 x 45cm)
The common theme we found linking our work was realism and our love for detail. Finding out that we were perfectionists in our own ways led into a discussion of knowing when a work is deemed ‘complete’. We decided to challenge each other about what this meant. We came up with the idea of giving the other person control of the work and when it is deemed ‘done’.
Natasha Muluswela
‘If you don’t work, you don’t eat’ (2021)
Graphite on paper (32 x 45cm)
The common theme we found linking our work was realism and our love for detail. Finding out that we were perfectionists in our own ways led into a discussion of knowing when a work is deemed ‘complete’. We decided to challenge each other about what this meant. We came up with the idea of giving the other person control of the work and when it is deemed ‘done’.
Natasha Muluswela
‘I’ve never kissed a black woman before’ (2021)
Graphite on paper (41 x 44cm)
The common theme we found linking our work was realism and our love for detail. Finding out that we were perfectionists in our own ways led into a discussion of knowing when a work is deemed ‘complete’. We decided to challenge each other about what this meant. We came up with the idea of giving the other person control of the work and when it is deemed ‘done’.
Natasha Muluswela
‘Vhudzi ra Ambuya’ (2021)
Coloured pencils on paper (28 x 42cm)
The common theme we found linking our work was realism and our love for detail. Finding out that we were perfectionists in our own ways led into a discussion of knowing when a work is deemed ‘complete’. We decided to challenge each other about what this meant. We came up with the idea of giving the other person control of the work and when it is deemed ‘done’.
Natasha Muluswela
‘Folded Perceptions’ (2021)
Graphite and coloured pencils on paper (39 x 41.2cm)
The common theme we found linking our work was realism and our love for detail. Finding out that we were perfectionists in our own ways led into a discussion of knowing when a work is deemed ‘complete’. We decided to challenge each other about what this meant. We came up with the idea of giving the other person control of the work and when it is deemed ‘done’.
Natasha Muluswela
‘Challenge the conventions’ (2020)
Graphite and coloured pencils on paper (42 x 45cm)
The common theme we found linking our work was realism and our love for detail. Finding out that we were perfectionists in our own ways led into a discussion of knowing when a work is deemed ‘complete’. We decided to challenge each other about what this meant. We came up with the idea of giving the other person control of the work and when it is deemed ‘done’.
Natasha Muluswela
‘Imperfectly Perfect’ (2018)
Graphite and coloured pencils on paper (38 x 43cm)
The common theme we found linking our work was realism and our love for detail. Finding out that we were perfectionists in our own ways led into a discussion of knowing when a work is deemed ‘complete’. We decided to challenge each other about what this meant. We came up with the idea of giving the other person control of the work and when it is deemed ‘done’.
Reflections on peer to peer mentoring
Natasha Muluswela
During the peer to peer mentoring one thing I kept in the back of my head was collaboration. As we develop as artists it’s key to have that support and community as most of us spend a lot of time creating alone. The peer to peer mentoring groups brought me a community without judgement. The community and honesty that the group provided, is much more than art, it makes being an artist more human. In addition, the professional development mentoring was invaluable, the advice and knowledge I have had insight to is priceless.