Beverley Onyangunga
Cut
February 2022
Huxley-Parlour Gallery
Huxley-Parlour are delighted to announce the first exhibition in our fourbythree programme, Cut, by
Beverley Onyangunga.
Onyangunga’s exhibition uses archival photographs and sculpture to look at the systematic brutalities
which occured in 1890 Free State Congo during the reign of the Belgian King Leopold II, where it is
estimated that 10 million Congolese people were killed. This period of history is widely considered
to be overlooked by historians. Onyangunga uses the motif of the red hand as a symbolic reference
to mutilation of the native people, whose limbs were removed if they did not meet rubber harvesting
quotas.
Beverley Onyangunga is a multi-disciplinary artist,based in London. Her practice is informed by her
Congolese heritage and UK upbringing. Onyangunga works across mediums to explore notions of
identity, politics, and race in her practice. She graduated from Chelsea College of Arts in 2021.
In situ
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Beverley Onyangunga, Cut.
Huxley-Parlour are delighted to announce the first exhibition in our fourbythree programme, Cut, by Beverley Onyangunga.
Onyangunga’s exhibition uses archival photographs and sculpture to look at the systematic brutalities which occured in 1890 Free State Congo during the reign of the Belgian King Leopold II, where it is estimated that 10 million Congolese people were killed. This period of history is widely considered to be overlooked by historians. Onyangunga uses the motif of the red hand as a symbolic reference to mutilation of the native people, whose limbs were removed if they did not meet rubber harvesting quotas.
Beverley Onyangunga is a multi-disciplinary artist,based in London. Her practice is informed by her Congolese heritage and UK upbringing. Onyangunga works across mediums to explore notions of identity, politics, and race in her practice. She graduated from Chelsea College of Arts in 2021.
In situ
Beverley Onyangunga, Cut.