In today’s world, where skepticism and manipulation often prevail, finding art that brings genuine joy and wonder can be a rare treasure. Everlyn Nicodemus, a talented artist born in Kilimanjaro, Tanzania in 1954, may not be a household name, but her work is a true gem that deserves recognition.
Nicodemus’s artistic journey has been a long and eventful one, taking her from rural East Africa to Scotland with stops in Sweden and other places along the way. Despite a 25-year hiatus from creating art, her determination and talent shine through in every piece she produces.
After moving to Sweden in the early 1970s, Nicodemus studied anthropology and eventually found her way to creating her own artwork. She also delved into academic work, becoming an art historian to shed light on African modern artists, a topic she found lacking in existing literature. Her marriage to Swedish art critic Kristian Romare led to collaborations on research and writing, further enriching her artistic journey.
Nicodemus’s artwork, showcased in a chronological exhibition starting around 1980, is a vibrant display of colorful and sensory images that evoke both emotional and intellectual responses. Through her paintings, she explores themes of pain, repression, and identity, particularly focusing on the experiences of black women in African and European contexts.
One of her striking pieces, “After the Birth” (1980), depicts the complexity of motherhood with a raw and emotional intensity. Another artwork, “Gynaecologist’s Chair” (1983), captures the vulnerability and invasion of privacy that many women experience during medical examinations. These pieces, along with the powerful “Self Portrait, Akersberga” (1982), showcase Nicodemus’s ability to convey deep emotions and societal critiques through her art.
In her more recent works, Nicodemus infuses her art with the wisdom of experience and the joy of life. Religious imagery is used not for devotion but as a commentary on the European Christianizing project and the lasting impacts of colonialism. Her series “Lazarus Jacaranda” (2022-24) is a testament to her growth as an artist and her continued exploration of universal themes.
Through sculptural objects and anthropomorphic forms, Nicodemus invites viewers to reflect on themes of confinement and liberation, drawing on her personal experiences to create art that resonates with a wide audience. Her bravery, outspokenness, and determination shine through in every piece she creates, carrying a powerful and urgent message for all who experience her art.
The exhibition of Everlyn Nicodemus’s work at Modern One in Edinburgh until May 25, 2025, is a rare opportunity to witness the talent and vision of this remarkable artist. In a world that often values caution over innovation, Nicodemus’s bold and passionate work serves as a reminder of the transformative power of art.
