On November 4, 2008, Barack Obama was elected as the first Black president of the United States, an event met with widespread celebration both domestically and internationally. However, inside a modest tent reserved for Obama’s closest family and friends in Chicago, the atmosphere was notably subdued. British artist Nicola Green, present in the tent that night despite having no personal ties to Obama, recalled a sense of quiet gravity rather than jubilation.
Green, 54, a London-born artist with Ashkenazi Jewish, Russian Orthodox, and Anglican heritage, had secured unique access to Obama’s inner circle through an art project that began well before his presidential campaign gained momentum. In 2007, after learning about Obama’s presidential aspirations from her husband, former deputy prime minister David Lammy, Green approached Obama with a proposal to document his campaign trail through her art. Despite initial resistance from campaign aides, she was eventually granted permission to accompany the then-senator at the Democratic National Convention, throughout his campaign, on election night, and during his inauguration.
The work that emerged—seven silkscreen prints collectively titled "In Seven Days"—was created over several years and reflects a long-term engagement with the historical significance of Obama’s journey. The collection, along with an archive of photographs and documents, is now featured in a newly released book that highlights this artistic testament to that period. The pieces have been exhibited at prominent institutions including the Library of Congress and the Metropolitan Museum of Art, with two, including the print titled "Day Six: Sacrifice/Embrace," displayed in the Oval Office itself.
Green described "Day Six" as inspired by the somber mood she witnessed inside the tent on election night. She recounted Obama’s reaction upon seeing the work years later, noting that he expressed a feeling of “drowning,” revealing an emotional depth previously unacknowledged. The artist regards her role as that of a social historian, using her work to capture moments of cultural and historical importance, beyond immediate political narratives.
Throughout her career, Green has gained rare access to influential figures, including religious leaders such as the Dalai Lama, Desmond Tutu, Pope Benedict XVI, and Pope Francis, through projects spanning decades. She attributes this access to her focus on visual storytelling rather than written or spoken interviews, which often open doors that remain closed to journalists. Her approach involves long-term immersion in her subjects’ lives, underscoring a commitment to patience and trust in her practice.
Despite being married to a prominent political figure, Green asserts that her artistic freedom remains intact. She distances herself from the label of a "political artist," emphasizing that her work is more concerned with broader historical and cultural narratives rather than partisan politics. She notes that her interest in Obama’s story waned after he assumed office, reflecting her focus on history over daily political developments.
Green’s reflections on her children’s futures and the world into which they were born are cautious. Now in their late teens, she believes it is too soon to evaluate whether the progress imagined at the time of Obama’s election has been realized.
Her book, *In Seven Days... A Witness to History, an Artwork for Future Generations*, will be published on October 8 and offers an in-depth look at this intersection of art, history, and the personal dimensions of a transformative political moment.