Catherine Anyango Grünewald is a Swedish/Kenyan artist. She studied at Central Saint Martins and the Royal College of Art, followed by a Masters in Modern Literature at UCL. She has published, lectured and exhibited internationally. In 2010 her graphic novel adaptation of Joseph Conrad’s Heart of Darkness was published to critical acclaim and has been translated into seven languages.
Catherine uses film, sculpture, drawing and mise-en-scene devices to produce work which looks at physical or domestic environments being disrupted by emotional, intangible phenomena. Her drawing work uses the materiality of drawing tools to explore meaning, exploiting the physical properties of soap, pencil and eraser on paper to convey sensitive and complex themes. The process and labour invested in the work is a direct homage to the subjects, victims of violent domestic or institutional crimes.
Current projects look at the emotional manifestations of crime and guilt upon public and private space.In upcoming graphic novel 2x2 the banality of corruption affects the physical structure of a city and in recent drawings of crime scenes and police violence the images act as subjective evidence of horror.
She taught at Royal College of Art in London for ten years and is now and Senior Lecturer in Illustration/Lektor at Konstfack, Stockholm.
Catherine Anyango is represented by Riflemaker
contact Tot Taylor - firstname.lastname@example.org - 07794-629-188
Heart of Darkness
graphic novel adaptation of the novel by Joseph Conrad
In this deeply atmospheric rendering of Conrad’s classic,we join colonial trader Marlow as he recounts his journey into the heart of Africa. Artist Anyango uses intricate pencil drawings that disintegrate to abstraction as Marlow travels further towards the dying Kurtz and the heart of darkness...
“it is the sensational artwork by Anyango that makes the book…in the crepuscular gloom of her heavy pencil drawings, a pall of grey and sepia with contrasts of black, she catches something potent about the sick heart of colonialism and also about the resilient and unforgiving landscape in which the drama of the impossibility of human redemption unfurls. It is not Conrad’s Heart of Darkness, not quite, nevertheless the visual content is so painstakingly executed, so beautiful, that the pages look as if they’ve strayed in from the world of painting.”
Crying Out Loud: Ladies' Room
A site-specific exhibition at The Edwardian Cloakroom, Bristol by artists Julie Hill & Catherine Anyango Grünewald. Together their works in materials such as ceramics, cosmetics, smoke and mirrors used
the context of the Edwardian Cloakroom as a mise-en-scène setting, drawing attention to the feminine experience as independent, both spatially and intellectually, from the Gents.
Crying Out Loud
Catalogue printed to coincide with exhibition of the same name, held at Guest Projects, May 2012. Work by Catherine Anyango and Julie Hill took on the historical view of women as objects perpetually on the brink of hysteria – dripping with emotion, their bodies ready to overflow, blurring and overriding social norms. Using drawing, film, print, sound, sculpture, soap and water, their individual works together constructed a mise-en-scène that explored the idea of the ‘unacceptable’ manifestations of emotional afflictions by actively playing with the emotions of the viewer.
Featuring essays by Dr. Volker Sommer, Dr Chantal Faust and the Booker shortlisted author Deborah Levy.