Throughout my practice I have used art as a means of research, reflection, communication and transgression. My work is rooted in my background as an immigrant from mixed race origins. My art deals with issues of displacement, identity and histories of places. An important part of my practice is the notion of transgression, the marking and opening of boundaries of social and political structures as well as of the art world and enabling social change through art practices. The main media for work is photography, digital art, and installations and I have recently started working in textiles. In addition to working in traditional studio settings, my work is often participatory and set in schools, community centres, markets, public spaces, as well as in galleries and museums.
My work has been exhibited in various galleries and museums in the UK, Europe and the
Middle-East and was published in several newspapers, journal and books. I have been commissioned to create new works for the Tate Modern, Turner Contemporary, the South Bank Centre and even for Ben & Jerry’s shop in Soho (for which the payment was sweet!). I won awards from the Art Council, the British Council, the Ford Foundation and more.
In the past decade, and as a result of my Ph.D. research, the main media I have been using is photography. Whilst the photographic projects, and the visual art projects utilising photography, are varied I would say that what has characterised them all is their attempt at producing, using Jacques Rancière term, “dissensus spaces” – that is, a space in which what was excluded, which had no presence, is made to be seen again. This attempt was carried out through the on-going project “The Archive of places that have never been”, The “New Union Flag Project” in which I have used participatory installations and photo shoots at places such as the Tate Modern, Liverpool Museum, the South Bank Centre, and Brighton Museum. Currently I am working on a portraiture project which re-thinks the boundaries of this medium in term of the relationship between the photographer and its subject, and between the subject and the photographic space. These projects have been shown recently in a talk at the conference “Photography as Residence” at Brighton University, UK and will be presented at Autograph Gallery, London at the “Rights in Focus” series in March.
Locations: United Kingdom