He Who Was Shared
Details
MaterialGallery
hd video with soundThe approach
Description
Human-crafted. AI-refined.

This artwork depicts a person clad in dark clothing and a hat, walking through a lush, verdant forest. The vibrant greens of the foliage and the sun's natural lighting create a striking, almost mystical atmosphere. The subject's obscured face and solitary presence suggest a sense of anonymity and introspection, inviting the viewer to ponder the figure's identity and purpose within this secluded, natural setting. The artist's use of chiaroscuro lighting and the blurred, dreamlike quality of the image suggest a contemplative, symbolic exploration of the human experience in nature. ...

Similar Artworks
Untitled (Pokaiņi sunrise)
Timur Si-Qin
Untitled (Pokaiņi sunrise), 2020
250 x 129 x 14cm
Monopole d’État
Sung Tieu
Monopole d’État, 2025
46.8 x 207 x 64cm
6:13 AM
Olivia Erlanger
6:13 AM, 2022
57.8 x 52.1 x 23.5cm
taraxos
Sophia Al Maria
taraxos, 2021
650 x 200 x 200cm
Untitled-Platypus, Divisionism, Proletariat
Evelyn Taocheng Wang 王伊芙苓韜程
Untitled-Platypus, Divisionism, Proletariat, 2013
75 x 340 x 60cm
The Camera, A Mirror, A Sniper, A Femme (Beast Type Song Scripts)
Sophia Al Maria
The Camera, A Mirror, A Sniper, A Femme (Beast Type Song Scripts), 2020
43 x 32.5 x 2cm
Beige, White, Beige
Sung Tieu
Beige, White, Beige, 2023
35 x 30 x 3.6cm
38.9173100271627° N, -77.22183907758908° W
Olivia Erlanger
38.9173100271627° N, -77.22183907758908° W, 2021
76 x 47 x 38cm
5:13 PM
Olivia Erlanger
5:13 PM, 2020
50.8 x 50.8 x 25.4cm
Sharan Painted Cliffs
Timur Si-Qin
Sharan Painted Cliffs, 2024
40 x 30cm
Posing for Banner of Tunnel Security Woman, No. 1
Evelyn Taocheng Wang 王伊芙苓韜程
Posing for Banner of Tunnel Security Woman, No. 1, 2019
42 x 31.5cm
Peptides
Lying in the still waters of erasure
Erin Jane Nelson
Lying in the still waters of erasure, 2023
111.8 x 86.4 x 10.2cm
11:34 AM
Olivia Erlanger
11:34 AM, 2020
50.8 x 50.8 x 25.4cm
Hand pour coffee on the Leave in the Wind (The imitation of Agnes Martin)
Evelyn Taocheng Wang 王伊芙苓韜程
Hand pour coffee on the Leave in the Wind (The imitation of Agnes Martin), 2023
195 x 195 x 2.5cm
Viburnum lantanoides 1 A + Viburnum lantanoides 1 B
Timur Si-Qin
Viburnum lantanoides 1 A + Viburnum lantanoides 1 B, 2020
262 x 146cm
The Moving Feast No.1 流動的盛宴 No.1
Yu Ji 于吉
The Moving Feast No.1 流動的盛宴 No.1, 2020
300 x 200 x 180cm
Triassic
Erin Jane Nelson
Triassic, 2025
28.6 x 22.9cm
Nepenthe (Monument for Forgetting)
Lawrence Lek
Nepenthe (Monument for Forgetting), 2021
Views From A Sedan Chair, (Midway)
Sung Tieu
Views From A Sedan Chair, (Midway), 2025
200 x 100 x 0.5cm
Untitled (natural origin, 3)
Timur Si-Qin
Untitled (natural origin, 3), 2023
99 x 66 x 3.2cm
Skylight
Trisha Baga
Skylight, 2024
139.5 x 124.5 x 6cm
BEAST TYPE SONG
A Female Grasshopper Shits Behind A Fake Hill
Evelyn Taocheng Wang 王伊芙苓韜程
A Female Grasshopper Shits Behind A Fake Hill, 2017
180 x 96cm
34.044475879474845° N, -118.64673408513035 ° W
Olivia Erlanger
34.044475879474845° N, -118.64673408513035 ° W, 2021
70 x 64 x 37cm
Sandra Mujinga
Artist
Sandra Mujinga
B.1989, Congolese

Whether these are the spectral personifications of forgotten histories, the remnants of colonial legacies, or harbingers of the climate crisis and planetary destruction, Sandra Mujinga is fascinated with the idea of ghosts. She is concerned with the idea of traces and fragments; that nothing ever disappears completely. Perhaps just like with ghosts, one tries to forget that they are there, to consign their presence to the corner of the room, but they remain lurking, like an underlying anxiety. Mujinga says that when you are born into a racialised body, the histories and violence of colonialism can never be forgotten; overlooking the past is a privilege. The artist’s work takes several forms, from moving image to installation. Her most recognisable piece to date saw four figures, Libwá, Mókó, Nkáma and Zómi, faceless, towering above the visitor and rendered with textiles, guarding the space. Bathed in chroma key green – the colour used for green screen, onto which anything can be transposed and therefore fictionalised – the sculptures seem able to transform, mutate, or reappear. ...

Sandra Mujinga: Artworks
Camuflage Waves 1–3
Sandra Mujinga
Camuflage Waves 1–3, 2018
194 x 128cm
Humans
Lovely Hosts 6
Sandra Mujinga
Lovely Hosts 6, 2016
61 x 48cm
Lovely Hosts 4
Sandra Mujinga
Lovely Hosts 4, 2016
61 x 48cm
Lovely Hosts 5
Sandra Mujinga
Lovely Hosts 5, 2016
61 x 48cm
Camouflage Waves #1
Sandra Mujinga
Camouflage Waves #1, 2018
194 x 128cm
Release
Sandra Mujinga
Release, 2018
30 x 120 x 60cm
Mottle
Nkámá
Sandra Mujinga
Nkámá, 2019
270 x 110 x 50cm
Reworlding Remains
Sandra Mujinga
Reworlding Remains, 2021
270 x 100 x 35cm
Sentinels of Change
Sandra Mujinga
Sentinels of Change, 2021
685.8 x 254 x 88.9cm
Throwing Voice
Sandra Mujinga
Throwing Voice, 2016
111.76 x 20.32 x 55.88cm ⌀12.7cm
Stretched delays 2
Sandra Mujinga
Stretched delays 2, 2017
Disruptive Pattern
Sandra Mujinga
Disruptive Pattern, 2018
Flo
Sandra Mujinga
Flo, 2019
356 x 317 x 170cm
Pervasive Light
Closed Space, Open World
Sandra Mujinga
Closed Space, Open World, 2021
Spectral Keepers
Humans, On The Other Hand, Lied Easily and Often I
Sandra Mujinga
Humans, On The Other Hand, Lied Easily and Often I, 2016
150 x 100cm
You Are All You Need
Sandra Mujinga
You Are All You Need, 2019
Clear As Day
Flo
Sandra Mujinga
Flo, 2019
356 x 317 x 140cm
Nokturnal Kinship 1
Sandra Mujinga
Nokturnal Kinship 1, 2018
270 x 80 x 50cm
Uniform
Change Will Prevail (1)
Sandra Mujinga
Change Will Prevail (1), 2024
250 x 170 x 60cm
And What Was Left (5)
Sandra Mujinga
And What Was Left (5), 2023
58 x 42 x 18cm
And What Was Left (2)
Sandra Mujinga
And What Was Left (2), 2023
83 x 38 x 20cm
Love Language (1)
Sandra Mujinga
Love Language (1), 2023
106 x 64 x 188cm
Build My Skin with Rocks
Sandra Mujinga
Build My Skin with Rocks, 2022
970 x 420 x 1890cm
LACK #10
LACK #890
Sandra Mujinga
LACK #890, 2022
94 x 64cm
LACK #
Disruptive Pattern
Sandra Mujinga
Disruptive Pattern, 2018
Reworlding Remains
Sandra Mujinga
Reworlding Remains, 2021
270 x 100 x 35cm
Pervasive Light
When I Stopped Playing Hard To Get
Sandra Mujinga
When I Stopped Playing Hard To Get, 2015
He Who Was Shared
Face Time/Facetime-Real Time/Realtime
Sandra Mujinga
Face Time/Facetime-Real Time/Realtime, 2013
Catching Up
Amnesia? Amnesia?
Thank You for Remembering (2)
Sandra Mujinga
Thank You for Remembering (2), 2017
120 x 90 x 0.3cm
Octo Clutch/Temporary Home
Sandra Mujinga
Octo Clutch/Temporary Home, 2018
90 x 60 x 2cm
Atrophic Giants
Sandra Mujinga
Atrophic Giants, 2018
244 x 124cm
Companionship
Sandra Mujinga
Companionship, 2057
220 x 60 x 20cm
The approach
Gallery
The approach
London

The Approach is co-directed by Jake Miller and Emma Robertson. Located in Bethnal Green above The Approach Tavern, for over twenty years it has operated an internationally recognised programme from its East London base. The gallery is known for discovering artists and establishing their careers as well as making inter-generational curated group shows a strong focus. The list of represented artists includes the Estates of important overlooked female artists Heidi Bucher and Maria Pinińska Bereś, as well as seminal British collage artist John Stezaker, together with established and emerging artists including Magali Reus, Peter Davies, Lisa Oppenheim, Sandra Mujinga, Pam Evelyn, Sara Cwynar, Sam Windett and Caitlin Keogh. Over the years the gallery has operated parallel programmes in additional gallery spaces in London’s West End (The Approach W1) and in Shoreditch (The Reliance). The gallery is currently based solely in its original East End location and continues to expand its programme, showcasing its represented artists in the main gallery space, and both represented and non-represented artists in The Annexe, a smaller, more experimental space at the back of the building. ...

Unlock Price & Inquiry Access