inaugurating her solo presence at Tiwani Contemporary in London, articulates a deeply spiritual and visually intricate narrative that centres the act of drawing as devotional praxis, where each line and gesture becomes a meditative invocation; the works presented—ranging from large-scale, panoramic scenes to more intimate portrayals—follow the journey of a heroine who mirrors the artist herself, moving through ritual, transformation, and acceptance, always accompanied by the divine presence of Ebezina, a figure that bridges ancestral Igbo cosmology with the artist’s psycho-spiritual introspections; Hosten expands her practice beyond drawing into collage, assemblage, and printmaking, guided by what she describes as a process of "broadening and deepening a felt sense of the transpersonal dimension", integrating philosophies and mythologies with references to Carl Jung and Fanny Brewster while remaining grounded in Igbo spiritual traditions; among the standout works is Songs of the Unfurling (2024), a layered composition combining monotype, charcoal, gouache, and acrylic to manifest an interior rite of passage through fragmented symbols and echoes of ancestral memory; through this visual language, Hosten navigates themes of feminine agency, sacredness, and psychic rebirth, producing not only artworks but epiphanic thresholds where the viewer becomes witness to an unfolding process of becoming; ultimately, this body of work reclaims drawing as a sacred cartography of self and spirit, a channel for both individual and collective remembrance in a contemporary Nigerian diasporic context.
