EDINBURGH.- Spanning the gallery’s entire ground floor, Everlyn Nicodemus opens on 19 October 2024 until 25 May 2025, and is free for everyone to enjoy. Experience Everlyn’s joyful, defiant and searingly honest artworks, with over 80 drawings, collages, paintings and textiles from over 40 years of her career, from 1980 through to the present day. Following a 25-year break from the medium of painting, Everlyn Nicodemus will unveil a series of new artworks created especially for the exhibition.

To mark the opening of the exhibition, the National Galleries of Scotland has announced the acquisition of two powerful works by Everlyn Nicodemus. The Wedding 45 (1991) is from Everlyn’s largest body of work – an intricate and symbolic group of over 80 paintings produced in the 1990s. The series was created during her recovery from a mental health breakdown, which the artist now understands to be linked to post-traumatic stress disorder, diagnosed some years later. The Wedding 45 represents a resilient return to life, in all its beauty, difficulty and complexity. The faceless female body has returned to a position of strength and empowerment, with an equal relationship to the world around her.

A second work, Eva (1981) has also been gifted to Scotland’s national collection by Everlyn Nicodemus and Richard Saltoun Gallery, ensuring the artist’s legacy will continue long after the exhibition has finished. Painted when Everlyn was living in Stockholm, Eva depicts the Old Testament figure of Eve (Eva in Swedish), pregnant and standing on a large red apple, with a bite taken out of it. Her pregnancy and the apple both indicate that this work depicts her after Adam & Eve’s expulsion from the Garden of Eden for consuming the forbidden fruit of the tree of knowledge. The painting’s themes of pregnancy and birth, the Biblical focus on sin, and Eve’s victimisation are linked to the artist’s memories, from growing up in Tanzania, of the stigma that surrounded pregnancy outside of marriage. As in many cultures, she recalls that young women were blamed for their unwanted early pregnancies, even when the result of rape. Eva is a painting that proudly declares the artist’s unwavering support for global reproductive rights.

Championing a belief that creativity is a form of healing, Everlyn’s work engages with themes including the global oppression of women, the enduring impact of racism and the artist’s own personal trauma and recovery. Visitors to Everlyn Nicodemus will marvel at her bold and courageous use of colour, form, light and shade, inviting them to explore and question their understanding of identity, belonging and faith. This stirring exhibition was made possible because Everlyn was the recipient of the prestigious Freelands Award in 2022. Presented by Freelands Foundation, the annual prize is gifted in support of women artists underrepresented in their field.

An artist, writer and curator, Everlyn Nicodemus was born in Marangu, Kilimanjaro, Tanzania in 1954. Living and working across Europe since the mid-1970s, Everlyn has made Edinburgh her home for the last fifteen years. Throughout her career, she has taken an active involvement in community life, using her gift of expression to highlight the shared oppression of women. Her pioneering scholarship on African modern art and trauma studies has also informed her practice.

Since the 1980s, Everlyn has made paintings, collages and works on paper that explore violence against women, personal trauma and the isolation and dehumanisation of living within structural racism. Everlyn Nicodemus will chart her career from those early days, with works including her very first painting, After the Birth (1980). At over two metres in length, this oil on bark cloth painting shows a large-scale image of a mother and child, brought to life through swirling black and white lines against a rich terracotta background. The mother figure is seen protectively placed over the child; however, her face is covered by her hands, her body hunched in a state of recovery. This scene evokes deep emotions such as uncertainty and isolation; the often-unspoken elements of motherhood. Even in her earliest work, Everlyn’s skill as a visual storyteller is clear, compassionately highlighting women’s shared experiences and struggles.

From her earliest work to the newest, the exciting debut of Everlyn’s new series Lazarus Jacaranda (2022–24) will form a key element of this exhibition, signifying an end to the artist’s 25-year hiatus from painting. While not directly referencing the biblical character in the series’ title, the paintings consider themes of cyclical life and Everlyn’s belief that ‘art is resurrection’. Female figures, both archetypes and named individuals, are shown in relaxed and restful poses, their feet supported by flowers and petals that spring powerfully to life. These paintings have much in common with Everlyn’s earlier artworks, from the colour palette and confident celebration of the female body seen in Silent Strength (1989–90), to the botanical elements present in The Wedding (1990–94). This marks a resurrection of Everlyn’s own work from the past, influencing her present practice.

This long overdue retrospective focussing on the life and work of Everlyn Nicodemus is a celebration of the compassion, creativity and care which she has led with throughout her 40 years as an artist. Everlyn Nicodemus is waiting to be discovered by new audiences at Modern One this winter.

Everlyn Nicodemus said: "This exhibition feels like the most important moment in my career, spanning over 40 years of my work. It’s especially meaningful to me that it’s happening here in Edinburgh, a place that truly feels like my home. Having lived as a nomad all my life, this is the first place where I’ve been able to live and create in one space that is both my home and my studio.

“It's a rare and unique experience for any artist, and especially for a Black African woman artist, to witness a retrospective of their own, and of this scale, so I feel incredibly lucky. This exhibition is a journey through my whole artistic life, and I hope it resonates deeply with those who experience it."

Anne Lyden, Director-General of the National Galleries of Scotland said: “It is a great privilege to host the first ever retrospective of visionary artist Everlyn Nicodemus at Modern One this year. Everlyn’s exceptional artwork harnesses her incredible ability to communicate the most complex subjects with unwavering compassion. Her work serves to empower and inspire, but also sensitively demonstrates the therapeutic and healing powers of creativity.

“This exhibition also marks Everlyn’s return to painting after a 25-year break with the unveiling of a new series of work which we are excited to share with our audiences for the first time. We are thrilled to bring this exhibition to the people of Scotland and celebrate Everlyn’s remarkable career in the city she calls home.”

Stephanie Straine, Senior Curator of Modern and Contemporary Art at the National Galleries of Scotland said: “We’re so excited that Everlyn’s exhibition has opened here in Edinburgh, allowing visitors to encounter Everlyn’s astonishing creative practice of many decades. I feel truly honoured to have had the opportunity to work closely with the artist over the past three years to develop her exhibition and its accompanying publication. It’s been a privilege to be a part of this incredibly rewarding collaborative process that has time and again emphasised Everlyn’s rigorous scholarship, commitment to and celebration of art making, and deeply empathetic perspective on the complexities of our shared humanity.”

Visitors to Everlyn Nicodemus can enjoy a free audio tour as part of their experience. Led by Everlyn herself, listeners will be guided around the exhibition as she highlights selected works and delves deeper into her inspirations, experiences and creative process.