A mural by Turner Prize nominee Claudette Johnson has been unveiled at Brixton Underground station, marking her entry onto the public art scene. Titled Three Women, this groundbreaking work is part of Transport for London’s (TfL) Art on the Underground programme, which has been running since 2018.
Three Women pays homage to local murals from the 1980s and is Johnson’s first mural, capturing the strength and essence of Black women within the community. The artist shared her inspiration, stating, "I am fascinated by the power emanated from these postures... it reflects how we claim space where we have been absent, obscured, caricatured or denied." This theme resonates deeply not only within her artwork but also within the historical narrative of Brixton itself.
The mural is described as a triptych, or tri-part piece, and draws visual references from Pablo Picasso’s iconic Les Demoiselles D’Avignon from 1907. This choice hints at the dynamic interplay of artistic lineage and cultural representation. Johnson elaborates on her approach, noting her long-standing interest in women and power dynamics, which she channels through her fluid, expressive style.
Eleanor Pinfield, Head of Art on the Underground, expressed hope for the mural's reception, saying it would be “enjoyed by millions.” She added, “Claudette Johnson’s new artwork honours the Black female experience through this bold triptych, continuing Art on the Underground's exploration of contemporary responses to muralism at Brixton station.” The inherent intimacy of Johnson's portrayal invites viewers to connect on multiple levels with the subjects represented.
Claudette Johnson emerged on the art scene as one of the founding members of the BLK Art Group, which played a pivotal role during the Black British arts movement of the 1980s. Her work often employs various media to create large-scale depictions of Black women, using their narratives and identities as focal points. This current mural exemplifies her dedication to highlighting underrepresented groups and adds to the conversation about space and visibility.
Previously, the Art on the Underground programme has featured significant works by artists such as Denzil Forrester and Njideka Akunyili Crosby, making Brixton station not only a transit point but also a canvas for cultural expression. This initiative resonates with many locals who see their history and contributions to the arts reflected within these walls.
Johnson’s Three Women also aligns with the upcoming recognition of contemporary artists at the Turner Prize exhibition, where she, along with nominees Pio Abad, Jasleen Kaur, and Delaine Le Bas, will showcase their work at Tate Britain. The Turner Prize ceremony is set to be held on December 3, 2024, which adds another layer of anticipation for Johnson and her fellow artists involved.
Each aspect of Johnson’s latest work reflects much more than just aesthetic choices; it embodies social commentary and seeks to challenge perceptions about Black women. With the mural now unveiled, it stands as both art and statement, positioning Johnson as not only part of Brixton’s narrative but also as one of the notable voices of contemporary art.
Arts initiatives such as this have seen strong support within London, encouraging public engagement and dialogue surrounding pressing cultural and social issues. Pinfield highlighted this impact, stating the hope is for Johnson's work to “continue the tradition of powerful public art” at Brixton station—a place where art and life intersect daily for countless commuters.
For many, art is not merely about personal expression; it’s also about the conversations it ignites within community spaces. Johnson’s mural at Brixton station will undeniably play its part, engaging the public and inspiring future generations of artists.
To visit the mural, commuters can easily spot it upon entering the station. It’s strategically placed where foot traffic is at its peak, ensuring it reaches the eyes of many, from daily travelers to those who may be unfamiliar with Johnson’s work.
Johnson’s dedication to advocacy through art remains clear, passing the torch on to all who encounter her work. It's more than paint on walls; it’s about claiming space, making statements, and celebrating history, paving the way for inclusive narratives to flourish.
