Glasgow International Festival of Contemporary Art

The delight of walking alone

Textile portrait of a Black woman holding a lilac flower blossom. Two green butterflies with small orange eyes rest on her arm and move through her braids. The woman, constructed from found fabric, sits cross-legges with her head tilted and a slight smile.
Textile portrait of a Black woman set against a lilac fabric background. She rests her hands with orange painted nails on her stomach while her elbows extend outward. creating strong traingular shapes in the composition.
Textile work depicting the profile of a stylised dead sheep made from wool. Its tongue hands out and its eye forms a black cross. with red fabric suggesting blood along its neck. Green wooven leaves surround the sheep.
Dates and Opening times

Fri 5 – Sun 7 Jun, 11am-6pm


Mon 8 – Sun 21 Jun,


Mon – Fri, 12pm – 5pm,


Sat – Sun, 11am – 6pm

Venue

Burns Street Studios, 15 Burns Street, G4 9SA

Participants
Anya Paintsil
Presented by

The Glasgow School of Art

Supported by

Glasgow School of Art; additionally supported by Glasgow International with funds from the Scottish Government's Festival EXPO Fund

Accessiblity

Level Access, Step Free: The venue has ramped or level access and/or lifts to upper floors


Toilets: The venue has toilets available for visitors, but these are not accessible


Accessible Toilets: The venue has a wheelchair accessible toilet


Bike Rack: There is cycle parking at the venue

The delight of walking alone presents the work of Welsh and Ghanaian artist Anya Paintsil. Based in Glyn Ceiriog and London, Anya draws inspiration from her childhood in North Wales and her ancestral Fante tradition of figurative textiles. Anya combines craft practices she was taught as a young child, including rug making, appliqué, and hand embroidery, with afro hairstyling techniques to create large scale portraits.

Anya’s figures explore the possibilities and politics of non-representative depictions of the Black figure, drawing from African art history, identity, personal narratives, and humour. Anya deliberately refuses to root her work in the European fine art canon; instead, her visual language is based in traditional West African craft and art—carvings, wood sculptures, masks. She exchanges the hard materials for soft in an interrogation of gendered labour, particularly the labour of working-class women.

Anya has recently exhibited at Ames Yavuz, London and Tŷ Pawb, Wrexham. Her work is in collections including the Stedelijk Museum, Amsterdam, The National Museum of Wales, The Whitworth Gallery, Manchester, and The Women’s Art Collection at Cambridge University.