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1993 in Wrexham, North Wales, Anya Paintsil is a Welsh and Ghanaian artist working primarily with textiles. From rug hooking to embroidery, her assemblages evoke tactile tapestry on the one hand, and constitute semi-sculptural interventions on the other. Playful and profound, flippant and forceful, her practice engages the language of fibres — of all kinds — with interrogations of materiality and political personhood.",[],"normal",{"_key":216,"_type":206,"children":217,"markDefs":222,"style":214},"6ffe755f85a4",[218],{"_key":219,"_type":210,"marks":220,"text":221},"e030b014b4070",[],"Anya Paintsil made her London debut at Somerset House’s annual contemporary African art fair, 1-54, 2020. Within hours, the booth had sold out; certainly, one of Ed Cross Fine Art’s most successful exhibitions in its 10 year history. As well as private collectors, Anya has received sustained interest from public institutions. Recent acquisitions include the Glynn Vivian Art Gallery, Swansea; The Whitworth Art Gallery, Manchester, and Tullie House Museum, Carlisle. Anya was awarded the prestigious Wakelin Prize 2020 (exhibited at the Glynn Vivian in 2021), and featured in Crafts Council Gallery's exhibition 'Maker's Eye', London, 2021.",[],["null","__typename",9,"alt",10,"asset",224,"captionRaw",226,"captionColor",235],{"__ref":225},"SanityImageAsset:image-2aa102230799b12658ceafbd3e1399e471466741-2048x3088-jpg",[227],{"_key":228,"_type":206,"children":229,"markDefs":234,"style":214},"6d17b54feec6",[230],{"_key":231,"_type":210,"marks":232,"text":233},"7eea613de989",[],"Anya Paintsil by Mary McCartney",[],["null","__typename",95,"value",236],"#000000",[238],["null","__typename",239,"artists",240,"closingDate",244,"featuredImage",245,"featuredVideo",10,"location",248,"name",251,"openingDate",252,"slug",253],"Exhibition",[241],["null","__typename",93,"firstName",242,"lastName",243],"Anya","Paintsil","2021-12-18",["null","__typename",9,"alt",10,"asset",246],{"__ref":247},"SanityImageAsset:image-73687967215639cc4b123c3663fbe06200ca4b69-3231x2423-jpg",["null","__typename",249,"name",250],"Location","Salon 94 89th Street","Anya Paintsil","2021-11-12",["null","__typename",108,"current",109],["null","__typename",9,"alt",10,"asset",255,"captionRaw",10,"captionColor",10],{"__ref":256},"SanityImageAsset:image-e3ed4652a7c40e05b8d48a0e9fc8602943274d43-3282x2782-tif",[258,300,343,403],["null","__typename",259,"articleRaw",260,"author",295,"link",296,"pdf",10,"publicationDate",297,"publisher",298,"title",299],"Press",[261,269,287],{"_key":262,"_type":206,"children":263,"markDefs":268,"style":214},"008ac2b3bf4c",[264],{"_key":265,"_type":210,"marks":266,"text":267},"9daedc7a6c4a",[],"",[],{"_key":270,"_type":271,"image":272,"size":286},"910b5347f815","imageBlock",{"_type":273,"asset":274,"caption":277,"captionColor":236},"img",{"_ref":275,"_type":276},"image-f61937309e7548b9f9d256546636ae29186c5238-768x670-jpg","reference",[278],{"_key":279,"_type":206,"children":280,"markDefs":285,"style":214},"b3ae0d60cad0",[281],{"_key":282,"_type":210,"marks":283,"text":284},"1ab2fdcd7278",[],"Whatever you say squidward (2021) by Anya Paintsil",[],0.5,{"_key":288,"_type":206,"children":289,"markDefs":294,"style":214},"05d52d86983f",[290],{"_key":291,"_type":210,"marks":292,"text":293},"b4156366a64d",[],"This month, the Christie’s King Street galleries will be filled with almost 30 paintings, sculptures, films and soundscapes by the UK’s most visionary Black artists. Traversing the 1980s British Black Arts Movement to the present day, the exhibition encompasses a rich legacy that has all too often been overlooked.",[],"Brooke Theis","https://www.harpersbazaar.com/uk/culture/bazaar-art/a37791495/aindrea-emelife-visionary-black-artists-christies/","2021-10-01","Harper's Bazaar","Aindrea Emelife celebrates visionary Black artists at Christie’s",["null","__typename",259,"articleRaw",301,"author",338,"link",339,"pdf",10,"publicationDate",340,"publisher",341,"title",342],[302,309,322,330],{"_key":303,"_type":206,"children":304,"markDefs":308,"style":214},"f58c6f80dcac",[305],{"_key":306,"_type":210,"marks":307,"text":267},"4bac936e2f48",[],[],{"_key":310,"_type":271,"image":311,"size":286},"ff0108e1c1b0",{"_type":273,"asset":312,"caption":313,"captionColor":236},{"_ref":275,"_type":276},[314],{"_key":315,"_type":206,"children":316,"markDefs":321,"style":214},"ffe13cb485ff",[317],{"_key":318,"_type":210,"marks":319,"text":320},"01671019da42",[],"Anya Paintsil, whatever you say squidward (2021), courtesy of the artist/Ed Cross Fine Art.",[],{"_key":323,"_type":206,"children":324,"markDefs":329,"style":214},"6a76b8a0658d",[325],{"_key":326,"_type":210,"marks":327,"text":328},"3d553a1d5ff8",[],"Christie’s will hold an exhibition of Black British art at its London galleries this fall. Curated by Nigerian-British curator Aindrea Emelife, the show will run October 1 through 22, coinciding with Black History month in the U.K., as well as Frieze London.",[],{"_key":331,"_type":206,"children":332,"markDefs":337,"style":214},"22bc7c140529",[333],{"_key":334,"_type":210,"marks":335,"text":336},"3d82f0a5bb90",[],"Titled “Bold, Black, British” the show at Christie’s King Street galleries will explore the legacy and influence of Black British artists over the past 40 years. The 27-year-old curator (and Artnet News contributor) Emelife has selected work by 27 artists who are from, or working in, the U.K, some of which will be available through the house’s private sales arm.",[],"Naomi Rea","https://news.artnet.com/market/christies-london-survey-black-british-art-fall-2009500","2021-09-15","Artnet News","‘It’s About Black Art Not Being a Sellable Fad’: How One Curator Is Navigating the Market for a Show of Black British Art at Christie’s London",["null","__typename",259,"articleRaw",344,"author",398,"link",399,"pdf",10,"publicationDate",400,"publisher",401,"title",402],[345,352,366],{"_key":346,"_type":206,"children":347,"markDefs":351,"style":214},"c50905023de0",[348],{"_key":349,"_type":210,"marks":350,"text":267},"9f677b529759",[],[],{"_key":353,"_type":271,"image":354,"size":286},"90deb100504d",{"_type":273,"asset":355,"caption":357,"captionColor":236},{"_ref":356,"_type":276},"image-a3f77129dd01e334e9e48158772cf130316256a9-1024x673-jpg",[358],{"_key":359,"_type":206,"children":360,"markDefs":365,"style":214},"0594e08c18a0",[361],{"_key":362,"_type":210,"marks":363,"text":364},"ca24edf622d7",[],"Anya Paintsil. Ni yn unig (2020). Punch needled acrylic, cotton and human hair on hessian © Anya Paintsil, courtesy of Ed Cross Fine Art, London.",[],{"_key":367,"_type":206,"children":368,"markDefs":397,"style":214},"c9df9cf62e3b",[369,373,378,382,386,390,393],{"_key":370,"_type":210,"marks":371,"text":372},"687c3d6ae791",[],"The immediacy of Anya Paintsil’s textile faces and bodies belies the laboriousness of their making. A glance at the artist’s Instagram highlights reel reveals a marathon runner not a sprinter, as the woman from ",{"_key":374,"_type":210,"marks":375,"text":377},"142686ba8139",[376],"em","Me and Jack",{"_key":379,"_type":210,"marks":380,"text":381},"6abd0f52a4e0",[]," (2019) cries tears of thin blue cotton thread against a mostly bare rug hooking canvas. The image of her then-work-in-progress is captioned with typical humour and playfulness: ‘expected finish date 2069’ with an emoji blowing a party horn. Paintsil works primarily with punch needling, weaving and braiding human hair and kanekalon hair, as well as latch hooking. The latter technique requires pulling loops of yarn or fabric through a stiff woven base, and Paintsil explains how fully latch-hooked works, such as ",{"_key":383,"_type":210,"marks":384,"text":385},"b34122e1a950",[376],"Self Portrait",{"_key":387,"_type":210,"marks":388,"text":389},"d098ddd0bb7d",[]," (2018) and ",{"_key":391,"_type":210,"marks":392,"text":377},"801ea2929eff",[376],{"_key":394,"_type":210,"marks":395,"text":396},"e9a14b6e5cc5",[],", ‘are made up of probably over 100,000 individually cut pieces of thread’; the former took ‘about six months to make’, the latter ‘three or four months.",[],"Sammi Gale","https://plinth.uk.com/blogs/in-the-studio-with/thread-by-thread","2021-08-10","Plinth","Thread by Thread: An Interview with Anya Paintsil",["null","__typename",259,"articleRaw",404,"author",456,"link",457,"pdf",10,"publicationDate",458,"publisher",459,"title",460],[405,412,440,448],{"_key":406,"_type":206,"children":407,"markDefs":411,"style":214},"63ca601feefb",[408],{"_key":409,"_type":210,"marks":410,"text":267},"06a09e5b78d6",[],[],{"_key":413,"_type":271,"image":414,"size":286},"412e83ede995",{"_type":273,"asset":415,"caption":416,"captionColor":236},{"_ref":356,"_type":276},[417,424,432],{"_key":418,"_type":206,"children":419,"markDefs":423,"style":214},"aae992ef6787",[420],{"_key":421,"_type":210,"marks":422,"text":251},"a7d7d9444ec8",[],[],{"_key":425,"_type":206,"children":426,"markDefs":431,"style":214},"316ca34f20ee",[427],{"_key":428,"_type":210,"marks":429,"text":430},"0e391d61346e0",[],"Ni yn unig, 2020",[],{"_key":433,"_type":206,"children":434,"markDefs":439,"style":214},"60cd11555cb3",[435],{"_key":436,"_type":210,"marks":437,"text":438},"6be52963e5b6",[],"Ed Cross Fine Art",[],{"_key":441,"_type":206,"children":442,"markDefs":447,"style":214},"4629c90d639c",[443],{"_key":444,"_type":210,"marks":445,"text":446},"98f324ebb14a",[],"Anya Paintsil exclusively works with hand tools: a punch needle and latch hook. “Punch needling is using a hollow needle to push through yarn through a hessian/burlap backing, creating loops,” she explained. She uses the techniques of rag rugging or proddy—which involves pulling small cut strips of yarn or fabric through hessian—or rug hooking, in which case the strips are pulled through canvas. Each piece contains tens of thousands of loops of textiles. ",[],{"_key":449,"_type":206,"children":450,"markDefs":455,"style":214},"0859df5d503d",[451],{"_key":452,"_type":210,"marks":453,"text":454},"816cd070fbbf",[],"Rag rugging emerged in the U.K. in the 19th century, when textile mill workers and their families began to repurpose the surplus and waste from the mills. It’s these origins that also interest Paintsil. “Both techniques emerged mainly as crafts of poverty to repurpose old fabric and old clothes and have strong connotations of utility and labor—which is really what drew me to these techniques as opposed to other kinds of textile that are associated with the decorative,” Paintsil said. “The association with the domestic, the creative output of working-class women historically, and accessibility is also important to me: Rug hooking was most often carried out in the home by women with very basic and cheap tools and fabric. You can create very large rugs without needing a big loom or other types of expensive apparatus.”",[],"Charlotte Jansen","https://www.artsy.net/article/artsy-editorial-6-rising-contemporary-artists-traditional-craft-techniques","2021-06-08","Artsy","6 Rising Contemporary Artists Using Traditional Craft Techniques","Born Wrexham, North Wales, 1993; Lives and works in Manchester",{},{},1793739074732]