Angola's history is written in Sandra Poulson's work – not as documentation but as transformation. Born in 1995 in Portugal to Angolan parents, this interdisciplinary artist creates installations that reckon with colonialism, conflict, and survival through materials as humble as papier-mâché.
The Artist: Between Continents
Poulson's biography spans continents and disciplines. Fashion training at Central Saint Martins and an MA from the Royal College of Art (2023) inform her sculptural approach to fabric and paper. Represented by Jahmek Contemporary in Luanda, she bridges the Angolan art scene and international institutions.
The Work: Paper Weapons, Soft Power
Her Art Basel presentation "Safe to Visit" (2024) included an AK-47-shaped sculpture composed of 28 patterned pieces, hand-sewn and built to scale. At Venice, "Onde o Asfalto Termina, e a Terra Batida Começa" offered site-specific papier-mâché installation with multichannel video. MoMA PS1's "Este quarto parece uma República!" (her first U.S. museum exhibition) expanded this vocabulary.
The Breakthrough: Triple Platform
To appear at Venice Biennale, Art Basel, and MoMA PS1 in a single year represents extraordinary momentum. Poulson has arrived on the international stage with unmistakable force.
Why Now? Post-Colonial Reckonings
As institutions worldwide grapple with colonial legacies, artists like Poulson offer necessary perspectives. Her work doesn't lecture; it transforms – turning symbols of violence into objects of contemplation.
Conclusion: Soft Materials, Hard Truths
Sandra Poulson's rapid ascent reflects an art world hungry for voices from the Global South. Her papier-mâché sculptures prove that powerful art needs no expensive materials – only vision, labor, and truth.