Shenece Oretha is a London based multidisciplinary artist sounding out the voice and sound’s mobilising potential. Through installation, performance, print, sculpture, sound, workshops and text she amplifies and celebrates listening and sound as an embodied and collective practice.
Her practice is invested in the mobilising potential of sound and listening in art. Through multi-vocal and multichannel installations, sculpture, print, workshops and text her work amplifies and celebrates listening and sound as an embodied and collective practice. Shenece's works are attentive to not just the music, but the musicality of Black art and life, oral and aural traditions, ceremonies and literature together with the emotional, physical and communal resonance they generate.
Why did you apply for the 20/20 project?
The opportunity to develop a work, and work with a collection that speaks to the intersections of my practice, politics and culture. I applied in the hopes of having time to sit with and sound out silences whether that be in the collection itself or in the wider culture.
What conversations, thoughts or feelings do you hope to encourage amongst your audiences during your residency?
I want to encourage encounters with artworks that are more than meets the eye, that are embodied and aural experiences. Inviting the wider community throughout the residency to opportunities of mutual exchange and allowing space to shape and share moments of collective listening, communion, and commonality.
Partner Reflection
Hepworth Wakefield
Marie-Charlotte Carrier, Curator
As the Hepworth Wakefield, we acknowledge the significant impact of the 20/20 project on our institution and the broader art community in Wakefield. Curated by multidisciplinary artist Shenece Oretha during her 15-month residency, the exhibition explores the intersection of sculpture and sound in modern British art.
Oretha’s research into the sonic resonance within our collection resulted in a compelling exhibition divided into three sections: Introduction, Bridge and Chorus. Each section delves into different aspects of the relationship between sculpture and sound, offering visitors a unique sensory experience.
The Introduction section examined how artists including Barbara Hepworth and Henry Moore were inspired by music and ancient artefacts in their sculptural practice. Through sensitive surface microphones, Oretha captured the subtle sounds produced by interacting with sculptures, creating a multi-channel sound composition played through speaker-sculptures interspersed among the artworks. The Bridge section connected various forms and cultures, emphasising universal themes and inviting contemplation on shared human experiences. This section highlighted the diverse perspectives represented in the exhibition, fostering inclusivity and dialogue.
Supported by the UAL Decolonising Arts Institute and other partners, the 20/20 project underscores our commitment to promoting a diversity of approaches to how we display, engage and create art at the Hepworth Wakefield. Oretha’s residency exemplifies this commitment, as it provided an incredible opportunity to explore our collection through a novel lens and attend to the myriad histories that are held within the objects and artworks in our care. We are grateful that Shenece Oretha’s incredible artwork has also joined our collection.
Through workshops, discussions and collective listening sessions, Oretha encouraged visitors to engage with art on a deeper level, fostering a sense of community and connection. The exhibition served as a testament to the enduring power of art to provoke thought, spark conversation and inspire change.
As we reflect on the success of the 20/20 project, we are grateful for the opportunity to be part of such a ground-breaking project. We look forward to continuing our mission of promoting inclusivity and diversity within the arts and creating spaces where all voices are heard and celebrated.
