Kunsthall Stavanger is proud to present Creations of Care, the first solo exhibition of British artist Nnena Kalu outside the UK. Kalu is one of this years nominees for the prestigious Turner Prize.

Kalu’s work takes the form of large-scale sculptures and series of drawings. At Kunsthall Stavanger, Kalu takes over all galleries in her largest exhibition to date. Here, she presents a new series of sculptures created specifically for the space and finished on-site. Her practice is a dynamic interplay of expressive gestures, explosive energy, and meticulous care. Through their immediacy and approachability these works invite audiences to engage, encouraging personal interpretations and introspection. As viewers, we are generously offered a window to contemplate the world through her unique perspective.

In the Kunsthall’s main gallery, a striking series of sculptures fills the space. These large-scale installations resemble enormous, pregnant cocoons, brimming with colour and enveloping forms—hallmarks of Kalu’s practice. Upon closer examination, layers of textiles reveal themselves, some tightly wrapped, others pleated together with precision. Her signature neon pinks and yellows dominate the sculptures, interspersed with a vibrant mix of other colours.

Kalu’s sculpting process begins with urgent, frenzied wrapping: fast, intense, instinctive—before transitioning into a more deliberate, measured approach. In the early stages, artist and material seem to merge as she rapidly builds, models, and makes intuitive decisions on form and colour. As the initial burst of energy subsides, she shifts to careful consideration of how the materials work together. Her sculptures incorporate everyday, often discarded materials such as Blockbuster videotapes, textiles, fabrics, tape, and drainage pipes. While their affordability plays a role in their selection, every material is deliberately chosen and their abundance aligns with Kalu’s energetic and prolific process.

The act of binding, pleating, and layering speaks to Kalu’s process of creation: a balance of urgency and care, of instinct and intention. Her sculptures appear to nestle, nurture and protect. Kalu’s creations are a loving manipulation of materials, through the binding and pleating of fibers she brings and holds them together. The concept of care sits at the heart of her practice, seen in the careful cultivation of something until it is ready to enter the world. This notion may resonate with the experience of motherhood—the devotion poured into nurturing an idea, a concept, or a life.

Kalu’s works are visually distinct, yet they are not created in order to achieve a specific aesthetic. Rather, they are physical responses—intuitive, immediate, deeply personal. Each work captures a moment, a state of being, an imprint of time in the artist’s studio. The momentary nature of her work is particularly evident in her drawings, displayed in the smaller galleries.

The sophistication in her drawings are defined by expressive, rhythmic lines. Kalu often draws with her eyes closed, responding mainly to the sound of the pen, pencil, graphite, oil pastel meeting the paper. Here, an almost internal rhythm drives her. These works speak to presence, each mark existing as a record of the moment it was created.

Her drawings, often created in sequences of two, three, or more panels, may appear identical at first glance, but each contains subtle differences. Kalu exhausts a form through repetition, then moves on, rarely returning to a previous motif. Repetitive motion, often associated with autism, is a defining element of her sculptures and drawings. For viewers, this repetition can be meditative, inducing a sense of calm and focus. Some works evoke the warmth and security of the womb, while others explode outward, reaching beyond their confines. The layering of colours and forms invites us to experience the work through sensation rather than analysis.

Kalu’s practice is inextricably linked to her unique perspective and experience. As a Black woman with limited verbal abilities and a learning disability, her work offers visitors an opportunity to see the world through a different lens. For 25 years, she has been supported by ActionSpace, a UK-based organisation that provides learning disabled artists the resources, opportunities and studio assistance to develop their work. However, Kalu’s works do more than offer a window into her world—they challenge us to reconsider how we navigate our own. They pose questions about perception, movement, and act as an invitation to reflect on how we move through life, how we care for ourselves and others. The beauty of these works lie in their generosity, the offering of participation they extend to us.

When encountering Kalu’s work, viewers are often met with a feeling of joy. Her sculptures exude freedom of movement and an electric interplay of colour. They are inherently related to her body, shaped by the reach of her arms and her movement around them. At Kunsthall Stavanger, Kalu’s sculptures are suspended from the ceiling, mirroring the way she constructs them in her studio. This setup allows her to work from all angles—inside and out, her arms continuously enveloping the form. As viewers, we too are invited to move around and within the sculptures, to experience the embrace and care infused into them.

Kalu’s works offer a rare generosity: A space for participation, interpretation, and immersion. In experiencing Kalu’s art, we do not just witness a moment of creation; we step into it, bringing our own presence, our own moment, into conversation with hers.