Myosotis by Mia Walker
SYBIL is proud to present Myositis, Mia Walker’s first solo exhibition. For this debut, Walk- er transforms. the gallery into a suspended space where painting, drawing, and video unfold like shifting memories, gliding between light and shadow. Myosotis—named after the “forget-me-not”, a delicate blue flower traditionally offered as a plea of remembrance. Speaking of persistence, the exhibition is a testament to traces, gestures, and voices that resist being forgotten. Blue runs through it as a spiritual and ambivalent hue: the color of mourning and melancholia, but also of luminous intensity and fragile vitality.
Born in Paris and now based in Brussels, Walker is completing her third year in Visual Arts at La Cambre. She has participated in several group exhibitions in Paris, Los Angeles, and Brussels, including more recently at Reset Ateliers with SYBIL. In continuity with this col- laboration, Walker now presents a new body of work that is at once instinctive and precise.
Walker approaches painting not as representation, but as a site of construction. Instead of depicting scenes, she creates simulacra—images that oscillate between figuration and abstraction, where multiple temporalities overlap. Layers of oil, watercolor, and Chinese ink merge and disperse through the movement of water, allowing gesture and chance to guide the material. These surfaces become fragile stages, spaces of tension where appearance and disappearance unfold simultaneously.
Her visual language is deeply rooted in her Jamaican heritage—folklore, myths and hidden family narratives she seeks to unearth. These inherited fragments intertwine with art histori- cal and cinematic references: Titian’s theatrical compositions, Joan Mitchell’s chromatic in- tensity, and Sergei Parajanov and Andrei Tarkovsky’s exploration of myth, ritual and cultural memory through deconstructed dreamlike architectures. Walker’s paintings embody this ritual and sensory dimension, where the image never fixes itself but continues to reinvent through movement. On view here as well is the video Bygone Paradise, filmed by Walker in Jamaica in an intentionally raw manner. Fragmented visuals and slowed sequences evoke a limbo-like state, where repetition and distortion become gestures of remembrance and ritual.
In Myosotis, the familiar turns estranged. Forms seem to recall something that may never have existed. Each work acts as a fragment of memory, an attempt to inhabit the fragile space between presence and remembrance.
Through these unstable architectures, the exhibition evokes the possibility of staying—of not being forgotten—in a world that is constantly disappearing.