The artist’s work resurfaces skills and knowledge that colonialism buried. She explains how her drawings and sculpture weave botanical illustration and traditional craft to engage with generational trauma
When the artist Charmaine Watkiss was a child, she frequently visited G Baldwin’s, a herbalist who sold natural remedies and essential oils in London’s Elephant and Castle, to pick up medicinal herbs and sarsaparilla for her mother. “They’ve had an apothecary for over 100 years,” she says. “It’s a place Black women used as a resource in the 1970s and 80s. You’d say: ‘I’ve got this ailment’ and they’d recommend something.”
Watkiss’s mother was part of the Windrush generation who migrated from the Caribbean to the UK, and these memories sparked a new area of research for the artist before her first gallery show in 2021, The Seed Keepers, which explored the botanical links connecting the Caribbean, the UK and the African continent in the context of the transatlantic slave trade. “While in my studio, I thought: all this knowledge must have travelled with the enslaved.” Thus began Watkiss’s large-scale illustrated portraits depicting women of African descent alongside medicinal plants. Evoking historical botanical illustrations, the artist traces how the enslaved relied on herbal knowledge for survival.
