Naomi Wallens, a British contemporary multidisciplinary artist working with painting, sculpture and photography. Self-taught as a street artist, Wallens is becoming well known in the art world for her provocative artwork exploring the subtleties of societal pressures of conformity and the profound impact this has on our ability to feel connected to our own self.
Drawing on her own experiences as a woman and mother and the experiences of those that she collaborates with, Wallens’ works are unorthodox products of visual story-telling that fight and challenge societal injustices and champion empowerment and love. Wallens pushes her emotional boundaries to become the subject in many of her painted works and directly makes use of the female form using her own body in many of her sculptures to illustrate the stories she sets to tell.
Wallens’ latest work has evolved from containing a strong autobiographical element in examining her own experiences of happiness (and the not so happy ones) to observing human behaviours and emotions within the framework of the society in which we live today, depicting subjects at odds with their often glamorous appearance.
Before launching her career as an artist Wallens followed a conventional academic route, eventually bagging herself a business qualification before embarking on a career in the corporate world. Feeling disillusioned and empty with her pre-conditioned life, this fuelled her ever-rebellious inner self to go on a courageous and often painful journey of self-discovery as an artist.
Operating under her former artistic alter ego SHYGUY, which saw her delve into the world of street art working within the graphic framework of conformity, vulnerability and personal experience, unlocking her passions, an avalanche of creativity soon followed. Wallens went on to build a vast body of design meets art wonders featuring several installations, her own body part sculptures, large scale paintings and an array of alluring Objet D’Art – the collection formed her first solo show ‘Behind Closed Doors’ in 2018.
This was followed in 2020 when Wallens debuted a new collection at Startnet, The Saatchi Gallery in October of that year. Wallens wanted to capture the mood of the World during ‘lockdown’, representing the internal and external battles that many of us have in the modern world to love and be loved for who we are, exploring the effects of societal programming and cultural conditioning, captivating the viewer with soul-stirring intrigue.
The Saatchi Gallery collection showcases a series of glamorous, powerful and iconic Photographic Art pieces, entitled; ‘Race for Beauty’, ‘Artificial Love’ and ‘Save Yourself’, other new works featured in the collection are the ‘Hot Ass’ Sculpture range – paying homage to Wallens’ inner rebel whilst giving her body part sculptures a new and ever-evolving narrative and also featuring are some excellent examples of Wallens’ early work as a street artist.
Wallens’ work has now become a firm favourite with international high net worth private art collectors and interior designers alike.
After university, you pursued a successful corporate career what led you to change your life completely and becoming a full-time artist?
I had traditional and academic schooling. My path that followed afterwards was pre-conditioned and typical of the external environment that I grew up in. At my school I felt as though the arts were not seen as important as some of the other academic subjects and the advice I was given was to not pursue art as a career choice. The real awakening to me came whilst watching my eldest child start her schooling and I watched how quickly she was becoming turned off her passions and finding it a struggle to learn without being taught the ‘Why’. I saw the hierarchy of subjects still existed as when I was at school and how everyone was expected to learn in the same way and at the same time and how unnatural that all seemed. I watched her struggle to focus on getting a grade and not get into trouble rather than exploring her own passions, talents and have fun. I watched the slow demise of her love for herself and as a result, I saw her bullied for the way she looked and by the age of 8, she told me she didn’t like herself anymore.
This all coincided with my Mum’s battle with breast cancer and meeting my partner who inspired me to go on a journey in search of a deeper connection, understanding and liberation of myself – so in turn I could liberate my children and put my family’s life on a different course.
As one arm of my therapy in navigating this time I started to paint again. I wanted to tell my stories through art and connect with others and maybe one day make art to also represent the effects of social conditioning on behalf of others. The streets called out to me as an obvious starting point as it felt like a safe space without rules or judgement.
When you first turned to art you operated under an alter ego SHYGUY can you tell us about this period and the work you created which resulted in your first solo show Behind Closed Doors?
When I started painting the streets, it felt like a place that I could start without fear of getting anything wrong or things not looking perfect. I equally didn’t have the courage to tell my stories to the outside world in fear of judgement or negativity. I created an alter ego for myself; SHYGUY which allowed me a safe space to unlock my passions and be vulnerable. There was a part of me that wanted to tell my stories to others but another part that wanted to stay very small and under the radar. Painting again felt very freeing and became exciting and hopeful. I was able to examine all emotions that I was carrying and portray them as pieces of art. I began to see people’s reactions to my work and this gave me inspiration and motivation to continue.
In the early days, I was fortunate to spend some time with Hutch, a street artist that I had always admired and he helped me create some stencils from my early concept work and we took to the streets together. This time was invaluable for me as a street artist. During this period, I was able to run two parallel lives – go and spray the streets at 4:00 am, do the school run at 9:00 am. It was quite crazy looking back but also really amazing!
A turning point for me was being introduced to Beautiful Crime, an art agency and gallery set up to publicise a new genre of street and urban art, they represented some artists that inspired me and I was so happy that these guys saw potential in my work. They launched me in my first solo show which we put on together in 2018. It was called ‘Behind Closed Doors’.
You tackle issues such as female conformity. Can you discuss your works Artificial Love and Save Yourself and what they represent?
I’m really interested in conformity as a whole in society, and my own story certainly where I have felt pressure as a woman and a mother to look and behave in a certain way, stay in my place, be good, be grateful and strive for society approved goals in life. I think it is really difficult to move away from a path of social programming and cultural conditioning and re-program ourselves, especially when socially on the surface your life looks just fine.
Before creating the pieces Artificial Love and Save Yourself my work to that point had been largely autobiographical and contained a series of self-portraits both in stencil form and sculpture. Photography had always been a medium that featured in my working process and I was interested in using photography as a medium in its own right this time.
I wanted to create some works that appeared on the surface as glossy photographs that you could find in a fashion magazine, but on closer inspection tell a deeper story depicting subjects at odds with their glamorous appearance.
Artificial Love and Save Yourself belong to a trilogy of photography art pieces that I felt compelled to create during the first lockdown based on the world that I was seeing at the time and the difficulties that we were all experiencing.
Artificial Love came about from living in a world where we can be so technologically connected yet can feel such disconnect to our own self. Constantly comparing ourselves to others, striving for an image of perfection, judging ourselves and others, seeking approval and likes from external sources to fuel our inner happiness. The noise of these voices can become so loud and consuming, and in my family, we talk a lot about how we can turn down these voices and turn up the voices of self soothe, self-kindness empathy and compassion for ourselves and others. Artificial Love is very much a story that represents the daily battle that we have in the modern world where it is easy to hear that we are not good enough.
Save Yourself was heavily inspired by a book written by Glennon Doyle called ‘Untamed’, which came out over lockdown and really resonated with me and my journey and explores the joy and peace we discover when we stop striving to meet others’ expectations and start trusting the voice deep within us. She quit pleasing and started living. I drew on my own experiences as a Mother and a Woman and wanted to create a piece of art that examines what carrying the heavy burden of living up to Society’s expectations looks like and the realisation that my children do not need me to save them, they need to watch me save myself and show them how to fully live.
I juxtaposed the meaning of the piece against a Baywatch styled glamorous model, which we normally associate with rescuing others, and I wanted this piece to ask the question; ‘Is she going to save herself this time?’.
Anyone who is familiar with your work knows your bum features extensively. What compelled you to cast it to use within your sculptures? By the way, we love your lamps and are so excited about the release of the Bloomin’ Bum Vase.
Thank you – yes I am excited to be able to bring out a new collection of bum shaped vases and also Ice Buckets which will be so cool! The Bum really stands as a symbol of both rebellion and empowerment to me. Rebellion against social conformity and empowerment to live a life of your own design, unapologetically and guilt and shame-free. To be seen and heard for who we are and where we are going. To quit being good and start being free.
You work with several different mediums, managing to be diverse and having a strong identity throughout your collections. Is it important for you to have a signature style?
I think that the exciting thing for me about my art is that I am not defined by a medium. My art very much starts with the story and I enjoy choosing the best medium to tell that story or the medium that interests me to work with at that time. It feels important to me to tell stories that are truthful and honest and I enjoy creating unorthodox products of visual storytelling – this in turn this has become my signature style.
Can you tell us about your recent exhibition at the Saatchi Gallery?
The Startnet show at The Saatchi Gallery was an amazing experience. Being an artist not coming from within the art world, it was very special to meet like-minded people, be alongside other artists and have the good fortune to bring a body of work together to feature at The Saatchi Gallery. The part that will stay with me forever was being able to hear people’s reactions to my work.
It was very emotional to meet people that I had never met before and see them connect with my work and many thanked me for creating powerful art that tells a story. I felt the freedom that comes from my work permitted freedom in others to bravely share their stories with me and I felt very honoured to hear them. It definitely inspired and encouraged me to make more art, and keep telling stories.
Would you mind answering our quick-fire questions also?
Self Taught or Art School?
I am a self-taught artist. I was interested in painting, drawing, designing and making clothes as a child and studied art at school. As a by-product of my traditional schooling and external environment growing up, I ended up following an academic route that led to a life in the corporate world. Feeling disillusioned with my pre-conditioned life and watching the painful early journey of my daughter being taught the society’s version of what a good woman looks like I went on my own journey of rediscovery and found art again. I started painting under the tutorage of legendary street artist Hutch, who helped me create stencils from some early concepts and take to the streets and unlock my passions, desires and dreams.
If you could own one work of art what would it be?
There are so many works of art that I would love to own. The obvious one that springs to mind is ‘Get Out While You Can’ (Placard Rat) by Banksy as I really connect with this from my own story. My partner owns an edition of ‘Naypalm’ which we have above our bed and every day without fail I look at it and think how awesome it is. One piece of artwork that I remembered I loved was on reading the feature on Kendall Jenner’s art collection in Architectural Digest last summer and saw that she had Tracey Emin’s ‘Very Happy Girl’ pink neon artwork on the wall of her bedroom. I love neon and love Tracey Emin and this particular piece that she created in 1999 is an edition of 3 I think. I have some neon of my own creation in my house alongside a piece from Chris Bracey and this would make a great addition to the collection.
How would you describe your style?
Unorthodox products of visual storytelling, with heavy street influences.
Can you tell us about your artistic process?
My process is always evolving but always starts with the story and I work it out from there; the crux of what I am trying to say, or feel passionate about. This can come from a feeling in the moment, or something that has been developing in my thoughts for a while, being triggered about something relating to my own journey, or seeing an injustice directed at someone else, or being inspired by another person’s journey that resonates with my own. I write lots of notes and thoughts down, I make many sketches. The development stage sometimes takes days, weeks, or even months. At some point, there is a moment where the idea clicks and becomes so clear in my mind, usually in the middle of the night and I have to get it all down on paper. I can’t sleep usually for a few days because I’m so excited about the vision that has become so real, and then I have a huge urgency to create the piece whilst I am still riding in that moment. The process isn’t planned or certain and therefore it leaves me the space to enjoy the creative process and not be restricted in my expressions.
Is narrative important within your work?
Absolutely – the narrative is the backbone to all of my work. It is the driver for me and the reason why I make art. The joy for me comes in being able to tell a story that I feel passionate about. I also love hearing feedback of other people’s interpretation of my work and the reasons why they connect with the piece.
Who are your favourite artists and why?
This is really difficult to answer because I love so many artists for different reasons and in unrelated genres, at various points of my life. For example, the artist that I loved as a child was Toulouse-Lautrec, I was drawn to his fascination with the Paris underworld and recreated many of his posters. I became heavily into Banksy, Shepard Fairey and local London street artists such as Pure Evil when I began painting the streets.
I love female artists who have a voice through their art such as the confessional and autobiographical work of Tracey Emin, or originators Like Lady Gaga, Miley Cyrus and Bowie who have all used multiple forms like fashion, music, songwriting, acting and painting to express their unique stories and ideas.
I currently pay close attention to lots of female artists who also use the female form in their work and I am discovering more and more artists who I love many of which who are painting about current and topical subjects and talking about their works on relatively new apps such as ‘Clubhouse’.
What or who inspires your art?
People’s stories of injustice and not being seen or heard for who they. Stories from researchers and storytellers in this field such as; Brené Brown, places; London I find hugely inspiring, East End streets, Saint Tropez is like a second home to me and has been instrumental in creating some of my early work, Mexico has a special place in my heart and was where I spent some time creating some early stencils.
Music plays a huge influence, different songwriters and artists that use music to tell stories, fashion and different artistic creators such as Alessandro Michele or Alexander McQueen, public figures advocating for diversity and better representation such as Edward Enninful and Naomi Campbell, women who live their lives and have fought for their own freedom such as Glennon Doyle and Chanel Miller.
My children who see the beauty in the moment and are the most open-minded and non-judgmental people I have ever met, my daughter who campaigns for equality and against injustice, my partner and his own painful journey of self-discovery, supporters of my work who come forward and bravely tell me about their own difficult journeys of not being accepted and loved for who they are. Mother Nature with her sunshine, nice food, acts of kindness, love, living a full life – there is inspiration to be found everywhere for me.
Where is your studio and what is it like?
My studio mirrors that of my works really, lots of textures, storytelling props and visual images….and music. It’s actually been a makeshift studio for the last year in my basement carefully choreographing it around my 3 children over lockdown – lots of spray cans in cabinets and on shelves, graffiti, magazine and other inspirational cuttings forming mood boards for my current concepts plastered all over the walls. Bums in various stages of work, sizes, cutting mats, and props that I have made which feature in my photography art or previous installations. Lots of tubes of paint, brushes, my Wacom and speakers, a yoga mat and a set of weights. My studio is in Hampstead, London – we are high on a hill so we can look at the City all lit up at night and I have a safe place to develop my expressive thoughts.
Do you have any studio rituals?
Only one, whenever a piece of work leaves the studio to go to a client I tap the side of the box before it leaves and thank it for allowing me to tell a story.
What are you working on currently?
This week – I’m working on a storyboard for an NFT that I’m making to bring one of my characters; The Compromise Girl to life. I’m also drawing some designs with my Wacom that will eventually be printed onto decals and glazed onto the ceramic vases and ice buckets launching next month. I’m writing two pieces for a guest post opportunity and conceptualising my new photography art range.
Where can we buy your art?
I have an online shop; naomiwallens.com/shop or DM the studio through Instagram @naomiwallens
