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Photograph of a young man with dark brown skin lying on a bed with floral sheets in green and yellow. The man covers his eyes with his right arm, which is thrown over his face. 1 Mimi Cherono Ng Ok Untitled 2014 Press

Mimi Cherono Ng’ok: Closer to the Earth, Closer to My Own Body



For more than a decade, Mimi Cherono Ng’ok has worked to understand how natural environments, botanical cultures, and human subjects coexist and evolve together. Working with an analog camera, she travels extensively across the tropical climates of the Global South constructing a visual archive of images that document her daily experiences and aid her in processing emotions and memories.

Harshly lit and close up photograph of large green leaves.

Untitled, 2019

Mimi Cherono Ng’ok. © Mimi Cherono Ng’ok

For her first solo museum exhibition in the United States, Cherono Ng’ok presents photographs and a film made across Africa, the Caribbean, and South America, all as part of an ongoing inquiry into the rich and diverse botanical cultures of the tropics. She tracked flowers and floral imagery across varied contexts—enshrouding the exterior of homes, emblazoned on bedspreads, encountered in nighttime flower markets—and a range of hidden associations. Some of the plants she pictures have been used as love potions or medicines, while others have been moved around the globe as part of histories of imperial or colonial expansion. Omitting frames, titles, or any indication of place allows Cherono Ng’ok to offer viewers an experience that is immediate, intimate, and vulnerable. To expose photographic prints in this way approximates the fragile and impermanent character of their depicted contents.

Black-and-white washed out photograph of long, oval-shaped plant leaves.

Still from Untitled (It took a love closer to the earth, closer to my own body, to stop my tears …), 2020

Mimi Cherono Ng’ok. 16mm film transferred to 4k video, silent; 29:54 min. Commissioned by the Art Institute of Chicago. © Mimi Cherono Ng’ok

Cherono Ng’ok’s first film, which she produced in 2020, debuts in this exhibition. Shot on 16mm black-and-white reversal film, the work concentrates on a thicket of plantain trees the artist encountered in the coastal town of La Romana in the Dominican Republic. Lacking sound or storyline, the film is a meditation on mourning that reflects the artist’s own personal and profound experiences of familial loss, and the transitory nature of human and vegetal life more broadly. With stark effects of light and shadow, abrupt transitions and stationary perspective, the film shows fronds fluttering in response to gusty winds. The result is at once ethereal and mysteriously tranquil, capturing the sensitive outlook of an artist whose work is spurred by steady movement and all the introspection and memories that this entails.


Major funding for Mimi Cherono Ng’ok: Closer to the Earth, Closer to My Own Body is provided by Catherine and Mamadou-Abou Sarr and Joyce Chelberg. Additional support is contributed by Richard Hay, Jr.


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