Painting Mixes Faith and Diary Lines in a Fresh Look
An exploration of faith, identity, and memory
Michaela Yearwood‑Dan’s newest canvas—“The Sparrow Is Never Lost”—unfolds across two tall panels, drenched in bright layers of orange, red, and pink. Tiny glass beads in brown and green punctuate the surface, adding texture that catches the light. Handwritten words weave through the composition; one phrase, “Aint no shame in me,” echoes the spirit of her show, The Practice of Liberation, now on display at Manchester’s Whitworth Art Gallery.
A Childhood Revisited
Yearwood‑Dan grew up in a strict Catholic family in southwest London, attending a girls’ convent school. While many assume she endured a harsh upbringing, her memories are mixed:
- Learning about queer identity and questioning the church’s history and colonial ties.
- Nuns teaching her feminism, a paradox that informs her work.
These layered memories shape the pieces showcased at her first solo British exhibition, inviting viewers to confront their own complex histories.
A Church‑Like Gallery
The Whitworth space itself feels like a church—dim, open, and reverent. A choral score by her friend Alex Gruz plays softly in the background, heightening the atmosphere.
- Ceramic vessels sit on pedestals like altar pieces.
- Diptychs resemble stained‑glass windows, while benches are draped in abstract tile patterns.
- Cut‑up text from diaries, songs, and poems mingle with floral designs and subtle gold leaf accents.
This fusion of personal, political, and cultural fragments creates a kaleidoscope effect—an approach Yearwood‑Dan began after graduating from the University of Brighton in 2016. She notes that a painting can appear one way from afar and transform entirely when viewed up close.
Invitation to the Viewer
Yearwood‑Dan’s work invites viewers to explore how faith, identity, and memory can intertwine in unexpected ways—challenging assumptions and opening pathways to new understanding.
