The Jamaican British theorist Stuart Corridor known as cultural identification “a matter of ‘changing into’ in addition to ‘being’”, a nod to the duality of post-colonial existence. The artist Nickola Pottinger takes this dichotomy head-on in her first solo museum exhibition, fos born, on view on the Aldrich Modern Artwork Museum in Ridgefield, Connecticut and curated by the establishment’s chief curator Amy Smith-Stewart.
Pottinger’s emotive, natural sculptures, totems to her Jamaican heritage and West Indian upbringing within the Crown Heights neighbourhood of Brooklyn, implicate the viewer in their very own “matter of ‘changing into’”—fraught, ferocious undertakings stuffed with outdated magic and new views.
She calls these figures duppies, a reference to the chimeric, night-walking spirits of Jamaican folklore, and constructs them from furnishings, bones, chicken cages, gilded Yagua leaves and a panoply of different recycled supplies that toe the road between trash and treasure. Her creatures are draped in pigmented paper pulp that Pottinger creates from household paperwork, rubble and first drafts utilizing her mom’s handheld kitchen mixer, yet one more layer within the private and cultural palimpsest of her apply. Pottinger’s ghosts have a presence that’s each unsettling and hypnotic, inviting viewers into her historical past.
Fos born attracts on the current beginning of Pottinger’s daughter, Zora, as its thematic centrepiece. The marvelously lumpy Give tanks and praises (2025) incorporates a solid of the artist’s pregnant torso, positioning the act of human creation as each a young and carnal course of.
This sculpture is certainly one of a set of brand name new works paying tribute to motherhood that the artist created specifically for the exhibition. Whether or not hanging from the wall, sitting on a pedestal or mendacity on the ground, Pottinger’s humanoid reliquaries discover familiarity within the seemingly unknown, braiding disparate narratives collectively into talismans. There’s a flux to those sculptures, a way that their “changing into” might occur at any second and in any anarchic vogue. A part of this pressure lies in Pottinger’s penchant for line—initially educated in drawing, not in sculpture, she developed a extremely private, speculative process for her duppies, lending them a singular, haunting high quality.
The Artwork Newspaper caught up with Pottinger to speak ghosts, spirits and childhood bedrooms.
Set up view of Nickola Pottinger: fos born on the Aldrich Modern Artwork Museum, till 11 January 2026 Courtesy of the artist and Mrs. © Nickola Pottinger. Photograph: Olympia Shannon.
The Artwork Newspaper: Are you occupied with how these figures discuss to one another within the galleries when you’re planning a present?
Nickola Pottinger: This was really my first time actually putting the works for an exhibition of mine. Beforehand, I made the work, after which the gallerist and I’d simply set it up. This time, [Aldrich chief curator Amy Smith-Stewart] and I sat down with a flooring plan I had drawn out and my husband printed pictures of every of the person works and we mocked it up; we needed to make it possible for it had a way of the narrative all through the three rooms through which the works are proven.
There’s some older work in there—the genesis of the apply that started as a wall reduction was from a present in 2022. We had been making an attempt to be very considerate about how the work has developed over time and how you can spotlight the way in which themes and supplies reappeared all through the work. Even the location of the work—for one of many bigger sculptures, there are drawings on the floor that mirror the gestures of the bodily sculpture that is diagonally throughout from it.
All of it occurred intuitively. I do not go into a piece saying, “I will make a goat.” I be taught and make via utilizing my fingers. There is a channeling course of as I am working that takes me to a different place. And so I am at all times rewarded with this shock, this present ultimately. I’d say 75% of the way in which via the work, I’ve a greater understanding of the course through which I am going. After which there’s an modifying course of that occurs as properly the place I am constructing, however then additionally breaking it down bodily, both throwing the work or breaking the work and constructing it once more.
If you discuss making as a type of modifying, is there a way of regeneration within the work? How does that affect the way in which we’re inspired to consider these figures?
I come out of a powerful drawing apply and have drawn for a number of years. I at all times needed to discover sculpture, however was intimidated by it, and by no means took it at school, in all probability as a result of it was the costliest class and it was at all times principally males taking the category. I form of graduated from making these collage works, which I made in keeping with the identical rules as I described. It is at all times breaking and constructing. In a paper format, I used to be tearing and chopping up my very own drawings and constructing these surfaces and textures. They had been fairly huge and quilt-like. It nonetheless used plenty of a few of the supplies I exploit now, like oil pastels and watercolours.
Through the pandemic, after I was residence and I used to be spending rather more time with household who additionally lives close by, we’d get collectively in our yard and we might inform tales. I’d go to my household residence and accumulate issues that had been in my sisters’ and my room rising up. We nonetheless have e book stories and ceramics that we made in highschool. I had principally foraged my childhood bed room and brought it residence with me.
Earlier than lockdown, I used to be enthusiastic about making artwork in a special setting and never reaching for a similar instruments on a regular basis, to interrupt that behavior and train a special muscle. My husband, who’s additionally an artist, paints and makes sculptures and does movie, so there was this very nice cross-pollination of supplies and modes of creating. At the moment, these reliefs for me had been form of symbollic by way of the feel reduction that I used to be creating after which additionally reduction emotively at the moment. They had been totems for me; I used to be making them at residence and hanging them in our lounge.
I used to be actually nervous returning to the studio after I felt protected to be round different individuals. I used to be actually nervous about how the brand new reliefs would sit with my collaged paper work, as a result of I used to be very delicate concerning the development and I did not need to veer off path. I used to be introducing these wall reduction works to my paper collage works and it made sense to me. This was the precise course to go. So I received a blessing from my drawings to proceed to pursue this format of creating.
It felt good that it was nonetheless utilizing paper, which was at all times a medium within the work however turned so particular as a result of it was archives and paperwork from both my mother and father at residence, my grandparents or my sisters. By recontextualising them, I might assume again to all of the issues that I’ve realized and the tales I didn’t know. I discovered 37 years later that I form of considered these archives and paperwork as a special type of storytelling—not by mouth, however on this three-dimensional kind. A variety of the work is about constructing upon legacy, and plenty of it’s homage to household, my heritage, my ancestors and the way I used to be raised.
Nickola Pottinger, Sunday faculty, 2025 Courtesy of the artist and Mrs. © Nickola Pottinger. Photograph: Olympia Shannon
Being a mom impacts the artistic course of immensely. Did it change the way in which you considered creation and the way in which you carried out your apply?
I had recognized about this present since earlier than I did [Art Basel Miami Beach with Mrs. Gallery in 2023], so I had a while to consider it. I did two exhibits again to again and I used to be exhausted, so I took a break for just a few weeks after which discovered I used to be pregnant.
The most important work within the present, I started whereas I used to be pregnant. I’m accustomed to engaged on the ground, to getting bodily with my items. I feel anybody that paints [or] makes sculpture is aware of that making artwork may be very bodily. I had a tough time; I nonetheless received in there, however I moved sluggish. Behind my thoughts, I used to be actually excited to see the work rework after having our child, and that turned a mantra for me. I used to be like, “I really feel like it should change the way in which I work as a result of I am gonna be in a special way of thinking.” That is all I stored occupied with. I used to be actually curious what me post-pregnancy was going to be like.
There’s two of the works which might be within the present which might be casts of my stomach. I used to be considering for some time, “Ought to I solid my stomach? Ought to I do that? Do I need to put this into the work?” It is already autobiographical, so I ended up having my husband go into the studio with me and he solid my stomach. That evening, the minute the solid was drying on my pores and skin, I began to have contractions. After which two days later I had Zora. I felt like she was at all times in collaboration with me the whole being pregnant. My mindset was that I used to be simply doing all of it for her. So yeah, it was arduous, however I would not change any of it.
Do you see your position as an artist as a religious one? Do you consider your self as a creative agent or as a vessel for concepts?
I really feel like I am the one making the work, however I additionally really feel like there is a greater self I’m speaking with. I am a vessel in some methods as a result of I am a container for my very own spirit. I am at all times making an attempt to attach with spirit. I am at all times occupied with what spark of magic or uncooked emotion comes out within the work, as a result of that feels trustworthy.
Even with the way in which the work is made, like utilizing my mother’s cake mixer that she had me combine black cake each vacation throughout Christmas, I’m comforted that a few of my childhood is working with me and I am working with it. It’s bizarre working with my youthful self after which issues get revealed that receded into the again of my reminiscence, which is like at all times actually stunning and a present on the similar time. Typically I take into consideration grandparents I grew up with which might be now not right here, and I take into consideration grandparents which might be nonetheless right here however reside distant. They’re very a lot part of the work, too, as a result of I attempt to make work about issues that I do know. And I do know solely as a lot as I do about my private historical past and what my household has been via and what we have lived. It’s actually vital that I am listening to myself and on this state of channeling these reminiscences and ideas after I’m making the work.
Nickola Pottinger: fos born, till 11 January 2026, on the Aldrich Modern Artwork Museum, Ridgefield, Connecticut
