Northumbria University graduate Mani Kambo talks about her first solo exhibition, which is open at the Baltic now until 2 June 2025
Caroline Dask
Journalist at Luxe
Mani Kambo, a multidisciplinary artist and graduate of Northumbria University, is unveiling her first major solo exhibition, Ax•is Mun•di, at the prestigious Baltic Centre for Contemporary Art in Gateshead. Having opened to the public on 7 December, this groundbreaking exhibition represents a significant milestone in Kambo’s artistic journey.
Drawing inspiration from her upbringing in Newcastle upon Tyne, in a home filled with superstition, prayer, and religion, Mani’s work merges personal history with universal themes of spirituality and mythology.
Her practice encompasses textiles, printmaking, and fabric dyeing, delving into the concept of the ‘axis mundi’ – a symbolic bridge between the earthly and the divine, rooted in cultures and religions worldwide.
A day before her exhibition opens to the public, we sit down on the bench, which is a central part of her exhibition, to discuss her work, its connection between the human soul and the cosmos, and the layers of meanings behind Ax•is Mun•di…
When someone visits your exhibition, what do you hope they take away from it?
I hope that they feel welcome enough to enter the gallery space because sometimes even that can be quite intimidating. I would encourage people to come in, walk around, explore the textile pieces, sit on the bench, and hopefully, there are some wooden hands left for them to take away.
Personally, I really love the wooden hand aspect of the exhibition because there’s such a variety of people that visit the space, they might come from quite far away, or they might be local but it’s nice that they can continue that journey beyond the gallery space with a little keepsake.
Overall, I want people to enjoy the space and feel calm in it. There’s quite a meditative energy, from the colour of the walls to the aspect of being able to sit down in the space and walk around it. There’s tranquillity in that.
The term ‘axis mundi’ (world axis) carries deep spiritual connotations across various cultures. How did you interpret and personalise this idea in your work?
I wouldn’t say I’m religious but the idea of spirituality and the connectedness between humans, the cosmos and the space that we exist in, is something that I’m really interested in. I like to explore ideas of where we go, where we come from, our ancestors, the future and where all of these beliefs expand from.
The idea of ‘axis mundi’ comes from a variety of different places, spaces and continents that have different understandings and links with religion. For me, I see this as a connection between different spaces and realms.
A lot of my work is about different portals, thresholds and doorways. So, the idea of having a space that you enter through and multiple layers that allow people to move around is quite interesting.
Your exhibition features a range of materials and techniques. Could you share more about your process of bringing this exhibition to life?
It was a very interesting process. I worked with the curatorial team, the tech team and technicians from Northumbria University, who assisted me in figuring out how to produce and create the pieces. I had some visual ideas of what I wanted, and they helped push the boundaries of how those ideas were realised.
The exhibition features seven laser-cut, painted objects hanging on the walls. Each piece was laser-cut, painted, reassembled and coated in lacquer. There are also etched black MDF pieces that resemble tarot cards, playing on themes of prediction and storytelling – exploring the future and the search for answers.
I’ve also worked with locally sourced rocks, etching symbols onto them to reflect how imagery can resonate differently with different people. I’ve used iconography and imagery for years because I find these mediums more open to interpretation than language itself.
With this exhibition, I want people to bring their own experiences and thoughts to the work, interpreting it in their own way. There are elements I connect with on a personal level that others might perceive differently. Many of the symbols are universal, but varying cultural upbringings can lead to completely unique interpretation.
Your use of gallery space as an ‘infinite space’ is intriguing. How do you approach creating a sense of boundlessness within physical walls?
So naturally, the gallery does have four walls, but within this space, we didn’t want to build any additional walls that might act as barriers.
The space is designed to catch your attention even from the outside. There are details that invite people in, such as the rock above the entry. This rock is meant to be a protective object – a lucky charm, if you will.
Then you have the main outer gallery area, featuring the wooden artworks and textile pieces, including the ring of five textile banners. As you pass through them, you arrive at the central seating area. There are multiple layers to move through, creating a space that, while not physically infinite, feels as though it is.
How has your upbringing, especially being surrounded by superstition, prayer and religion, shaped your artistic vision?
I was born and raised in Newcastle and have been incredibly fortunate to study and access opportunities here locally. Regarding my upbringing, my parents are quite religious. While I’m not, their cultural influences, including ideas of superstitions and protectiveness, have undoubtedly shaped my practice.
Some of the universal symbols I use in my work are the hand and the eye. The hand, a symbol used for millennia, represents conjuring and motherly protectiveness to me. The eye, on the other hand, symbolises looking toward the future.
My exhibition is rich in visual imagery, much of which naturally stems from my upbringing, superstitions, and Indian family heritage. These cultural understandings seep into my work – not intentionally, but inevitably.
I know you curious about the human soul and its connection to the cosmos, how does this aspect show up in Ax•is Mun•di?
Ax•is Mun•di represents the connection between the heavens, the earth, and the underworld. I wouldn’t say I’ve drawn from it in a specifically religious way, but the idea of something existing below and above us – whether it’s heaven and hell, rebirth, or re-existence – is definitely something I’ve explored within the exhibition.
You’ve worked across the UK and Europe before this exhibition. How does presenting your first major solo show at Baltic feel, especially as a local artist?
It’s very exciting! Growing up in Newcastle, I often visited the Baltic, and now having a solo show here – being able to see my work and share it with my hometown – is truly special.
The Baltic is such a well-known venue, and having something of my own here completely blows my mind! It’s an amazing feeling, but it’s also a little scary and overwhelming. There’s a part of me that thinks, ‘Right, I must have peaked as an artist now, so what’s next?’.
Yes, so what is next? Are there any other cultural or spiritual ideas you’d like to explore in the future?
To be honest, I’m not sure. I think a little break is in order! Putting this exhibition together has been amazing, but it’s important for me to spend time with the work and reflect on it.
It’ll be exciting to figure out what’s next – what to create, who to collaborate with, and where to go. For now, though, it’s time to take a breather and enjoy this experience.
Ax•is Mun•di by Mani Kambo is on display at Baltic Centre for Contemporary Art from 7 December 2024 – 2 June 2025. For more information, visit baltic.art
