Sheila Nakitende: Weaving Ugandan Bark Cloth into Global Artistry

Sheila Nakitende is bringing the ancient craft of Ugandan bark cloth to the international stage, proving that traditional methods can resonate in contemporary art. Without access to modern machinery or commercial adhesives, Nakitende has ingeniously utilized handmade tools like wooden mallets, mortars, and pestles to continue the ancestral practice of transforming the Mutuba tree’s bark into textured, organic paper.

Her journey began out of necessity in 2014, observing paper waste in Kampala’s printing hub, Nasser Road. This led her to experiment with locally sourced cassava flour as a binder, evolving into a deeper inquiry about papermaking rooted in Uganda. Nakitende’s approach is a deliberate fusion of contemporary techniques, learned during a residency in New York, with the time-honored tools passed down through generations.

Nakitende’s powerful work has gained international acclaim, with exhibitions in Germany, France, Switzerland, and the United States. She is currently a featured artist at the Uganda Pavilion in the Venice Biennale until November 2026. Her pieces, which often incorporate photographs and drawings embedded within the fibrous material, have been acquired by institutions such as the Buganda Museum and the National Gallery of Zimbabwe.

Beyond her artistic output, Nakitende is dedicated to mentorship, believing that traditional knowledge must be physically transmitted to younger generations. This commitment to preserving and evolving heritage distinguishes her work, emphasizing a profound connection to the land and its practices. She understands that the continuation of these crafts relies on proactive engagement, including cultivating the very plants, like the Mutuba tree, that form the basis of her art.

Her practice is characterized by a deliberate slowness and deep attention, a rhythm that predates the demands of the global art market. Nakitende positions herself not merely as an artist, but as a custodian of tradition, bridging the gap between heritage and global visibility. The invitation she offers is not just to admire her art, but to reflect on our relationship with the places we inhabit and the practices we choose to carry forward.

This article is based on information from the Daily Monitor.