María Magdalena Campos-Pons’s “Liminal Circularity”
              Kimberly Bradley
              According to Yoruba myth, only one of the seventeen deities sent by the supreme being Olodumare to populate the earth could do so. After her sixteen male co-divinities failed, Oshun, the goddess of water, fertility, love, and protection, used her sweet waters to revive Earth and create its creatures. At Galerie Barbara Thumm, María Magdalena Campos-Pons pays homage to Oshun with the vibrant gouache triptych Untitled (2021). The artist was born in Cuba in 1959, the year the Cuban Revolution succeeded; Oshun is an important figure in Santeria practices, integrated into Latin American and Caribbean belief systems via the slave trade. Here, a female figure’s outstretched arms cradle a burst of dark-brown blooms, framed by yellow petals—a stylized sunflower spilling over three framed pieces. The sunflower is a symbol of Oshun, and the piece, an invocation of sorts, exudes generosity, abundance, and hope. Campos-Pons—whose ancestry is Yoruba and Chinese as well as Cuban—is experiencing her own burst of recognition. She’s been known, shown, and studied since the 1980s, but institutional exhibitions in both the Global North and Global South have since 2020 arrived in a rush like the flowing waters she often depicts in her multimedia work. While this reflects …

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