Thierry Goldberg Gallery is pleased to present Crimson embrace, the second solo exhibition of Bwambale Wesely. The exhibition will be on view online from October 2nd to October 26th, 2024.

Bwambale Wesely’s new series of portraits engages the viewer with a rich visual language that is both deeply personal and universally resonant. Wesely’s wife modeled for most of the paintings, and is often seen on a backdrop of Uganda’s beautiful region of the Rwenzori Mountains. Her figure here, is not merely a subject but a narrative vessel, addressing potent issues like the effects of globalization and the legacy of colonialism.

Often referred to as the Mountains of the moon, the Rwenzori Mountains are located in the Albertine Rift Valley of East Africa, along the border of Uganda and the Democratic Republic of the Congo. In the late 19th century, European explorers, primarily from Belgium and Britain, sought to impose their political and economic frameworks, often disregarding the intricate social structures that had developed over centuries among the Bakonzo and other local tribes. The Rwenzori range is home to lush rainforests, alpine meadows, and glaciers. The mountains have held deep cultural significance for the Bakonzo people, who viewed them as sacred. Wesely grew up in Kasese, which is located near the foothills of the Rwenzori Mountains.

In A mountain girl's dream (2024), Wesely’s subject is seen seated on the ground in an orange jersey and knee-high socks. Surrounded by the mountainous terrain of the region, her hand is reaching to a potted Bamboo by her side, just as two birds make landing on the plant’s leaves. The spectacular view behind the figure, that has remained unchanged for millennia, stands in stark contrast to the subject’s modern wear. A complex interplay between indigenous resilience and western influence.

The disruption of local culture is also apparent in Crimson embrace (2024). Here, Wesely depicts his spouse wearing a traditional Ugandan dress called the gomesi. Originating in the early 20th century, its roots are intertwined with the colonial period when British officials and missionaries sought to establish a sense of order and propriety in local attire. The gomesi was adapted from the kanga and other traditional garments, becoming a favored style among women, particularly in the Buganda region. In the post-colonial era, the gomesi has taken on new meanings. It is celebrated as a symbol of national pride and cultural heritage, worn during significant events such as weddings and traditional festivals. While it is celebrated as a symbol of Ugandan heritage, some would argue that its prominence can reinforce traditional gender norms, particularly in a society where women's roles have been evolving.

Wesely’s paintings speak to the notions of younger generations in Uganda today, as they navigate the tension between embracing traditional garments like the gomesi and adopting more Western styles. While the gomesi is a cherished symbol of cultural pride, its implications can spark dialogue about tradition, gender, and modernity in a rapidly changing world.

Bwambale Wesely (b. 1994, Kasese, Uganda) lives and works in Kampala, Uganda. He holds a BA in Fine Art from Kyambogo University, Kampala, Uganda. Wesely had his first solo exhibition with Thierry Goldberg in 2023. His work was also included in the gallery’s 2023 group exhibition Friends and family. Other previous exhibitions featuring his work include An ode to Okwui Enwezor at Band of Vices Gallery, Los Angeles, CA; and in familiar relationships, at Taag Gallery, New York, NY. Crimson Embrace is Wesely’s second solo exhibition with the gallery.