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Norma Hutchinson Park, Chapeltown |
Rodell Warner (b. 1986) is a Trinidadian artist working primarily in new media and photography. His works have been exhibited at The Whitney Museum of American Art in the 2016 Dreamlands exhibition as part of the collective video project Ways of Something, and at The National Gallery of Jamaica in the 2016 exhibition Digital, and at the 10th Berlin Biennale in 2018 in I’m Not Who You Think I’m Not #14. Rodell is a recipient of the 2011 Commonwealth Connections International Arts Residency, and the 2014 summer residency at NLS Kingston, and was commissioned in 2017 to create the Davidoff Art Edition, a series of five artworks printed onto a limited edition of five thousand boxes of luxury cigars and presented and sold at Art Basel in Hong Kong, Miami, and Basel. Rodell lives and works between Port of Spain in Trinidad, Kingston in Jamaica, and Austin, Texas, in the US.
http://www.rodellwarner.com
Rodell Warner (b. 1986) is a Trinidadian artist working primarily in new media and photography. His works have been exhibited at The Whitney Museum of American Art in the 2016 Dreamlands exhibition as part of the collective video project Ways of Something, and at The National Gallery of Jamaica in the 2016 exhibition Digital, and at the 10th Berlin Biennale in 2018 in I’m Not Who You Think I’m Not #14. Rodell is a recipient of the 2011 Commonwealth Connections International Arts Residency, and the 2014 summer residency at NLS Kingston, and was commissioned in 2017 to create the Davidoff Art Edition, a series of five artworks printed onto a limited edition of five thousand boxes of luxury cigars and presented and sold at Art Basel in Hong Kong, Miami, and Basel. Rodell lives and works between Port of Spain in Trinidad, Kingston in Jamaica, and Austin, Texas, in the US.
http://www.rodellwarner.com
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Lovell Park, North Lane |
Mussarat Rahman is a community artist and poet. For the last few years she has been experimenting with 3D art and installations with a variety of community groups and festivals. She runs social action projects, and delivers community programmes with different communities, and in particular with refugees and asylum seekers. Her work addresses themes of migration and movement, religion, spirituality, materialism, politics, and gender. She designs projects around local and global issues which affect society and particularly affect communities. Her projects are designed to create a reaction and be interactive to engage audiences.
Mussarat Rahman is a community artist and poet. For the last few years she has been experimenting with 3D art and installations with a variety of community groups and festivals. She runs social action projects, and delivers community programmes with different communities, and in particular with refugees and asylum seekers. Her work addresses themes of migration and movement, religion, spirituality, materialism, politics, and gender. She designs projects around local and global issues which affect society and particularly affect communities. Her projects are designed to create a reaction and be interactive to engage audiences.
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Merrion Centre |
Marcia Brown M.A (QTLS) is a Multi-disciplinary Community Artist and Teacher based in West Yorkshire. She graduated from Leeds Beckett Park University with a master’s degree in Contemporary Fine Arts Practices. She is a recipient of the Edna Lumb Travel Scholarship and the Black Achievers awards for her work in Community Arts. Originally trained as a painter, she taught herself to play the guitar and became a music maker. Her passion for Roots Reggae Music is at the core of her creativity and informs her paintings, digital artworks and music production ideas. The retention of her cultural heritage using the lyrical content of Roots Reggae Music and photographic images is paramount to her art practice. Her vibrant paintings seek to explore the relationship between music and colour and the annihilation and lost function of African Artefacts/objects held in Museum Collections throughout the world. Her mission is to create art and music that inspires, empowers, and educates.
http://www.marciabrown.co.uk/
Marcia Brown M.A (QTLS) is a Multi-disciplinary Community Artist and Teacher based in West Yorkshire. She graduated from Leeds Beckett Park University with a master’s degree in Contemporary Fine Arts Practices. She is a recipient of the Edna Lumb Travel Scholarship and the Black Achievers awards for her work in Community Arts. Originally trained as a painter, she taught herself to play the guitar and became a music maker. Her passion for Roots Reggae Music is at the core of her creativity and informs her paintings, digital artworks and music production ideas. The retention of her cultural heritage using the lyrical content of Roots Reggae Music and photographic images is paramount to her art practice. Her vibrant paintings seek to explore the relationship between music and colour and the annihilation and lost function of African Artefacts/objects held in Museum Collections throughout the world. Her mission is to create art and music that inspires, empowers, and educates.
http://www.marciabrown.co.uk/
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Clay Pitt Lane Pocket Park |
The ship ‘The Enterprise, en route from Alexandria, Virginia to Charleston, South Carolina, encountered a storm, and washed onto Bermuda's harbour with cargo of mainly mothers with suckling babies and children aged five or six. More than fifty of the enslaved people on the ship were children, most of whom had been kidnapped by raiders from their Washington and Maryland plantain homes.
After emancipation in the British colonies, the price of enslaved people in the southern states of the US were at a premium. The children and mothers on board the ship, were to be re-sold into slavery in South Carolina. The ship’s captain was informed that slavery was already abolished in Bermuda, so in Bermuda waters the people would be considered free. The people were not listed in the ship’s manifest; it only included tobacco, bricks and feed. A legal battle ensued.
The captain argued that the people were not Bermudian, they were American, and the ship was not intentionally in Bermudian waters since the boat was headed from a Northern US port to a southern one. A Bermudian organisation, The Colored Family Society heard about the ship, and advocated for their immediate release. All 78 persons on board the ship appeared in court and were permitted to decide for themselves if they wanted to remain in Bermuda or return to the ship. All chose freedom except one woman and her five children who chose to return to the US.
This globe is in honour of the children of The Enterprise, who chose freedom for themselves and became Bermudian by way of the ocean.I construct and deconstruct identity, revealing layers of history and the complexities of post-colonial and Afro-Caribbean heritage. Currently my research work is investigating the onion and its relationship to Bermuda archives. I use the onion as a metaphor for identity.
In Bermuda, the people are affectionately referred to themselves as ‘onions’, which dates back to the island’s production of onions during slavery. Black women were ‘minders’ of the onion seed, meaning the main caretakers of the cash crop that made Bermuda wealthy. I am using the layers of the onion in parallel with the layers of my Alibii figures, who represent the mothers on board The Enterprise.
Gherdai Hassell is a Bermudian born, China trained, multidisciplinary contemporary artist, writer and storyteller, based in Manchester, UK. Her work investigates memory and nostalgia to construct and deconstruct identity. She uses collage and painting to thread and weave histories, and tales of transformation passed down through family lineages. Her work typically centres female bodies, simultaneously existing within realms of past, present, and future. Her work is ultimately about migration, a gradual process of being and becoming the future. Her multimedia work reimagines relationships with the body as avatar, social space and the invisible world. Her artwork is a part of public and private collections across the world.
The ship ‘The Enterprise, en route from Alexandria, Virginia to Charleston, South Carolina, encountered a storm, and washed onto Bermuda's harbour with cargo of mainly mothers with suckling babies and children aged five or six. More than fifty of the enslaved people on the ship were children, most of whom had been kidnapped by raiders from their Washington and Maryland plantain homes.
After emancipation in the British colonies, the price of enslaved people in the southern states of the US were at a premium. The children and mothers on board the ship, were to be re-sold into slavery in South Carolina. The ship’s captain was informed that slavery was already abolished in Bermuda, so in Bermuda waters the people would be considered free. The people were not listed in the ship’s manifest; it only included tobacco, bricks and feed. A legal battle ensued.
The captain argued that the people were not Bermudian, they were American, and the ship was not intentionally in Bermudian waters since the boat was headed from a Northern US port to a southern one. A Bermudian organisation, The Colored Family Society heard about the ship, and advocated for their immediate release. All 78 persons on board the ship appeared in court and were permitted to decide for themselves if they wanted to remain in Bermuda or return to the ship. All chose freedom except one woman and her five children who chose to return to the US.
This globe is in honour of the children of The Enterprise, who chose freedom for themselves and became Bermudian by way of the ocean.I construct and deconstruct identity, revealing layers of history and the complexities of post-colonial and Afro-Caribbean heritage. Currently my research work is investigating the onion and its relationship to Bermuda archives. I use the onion as a metaphor for identity.
In Bermuda, the people are affectionately referred to themselves as ‘onions’, which dates back to the island’s production of onions during slavery. Black women were ‘minders’ of the onion seed, meaning the main caretakers of the cash crop that made Bermuda wealthy. I am using the layers of the onion in parallel with the layers of my Alibii figures, who represent the mothers on board The Enterprise.
Gherdai Hassell is a Bermudian born, China trained, multidisciplinary contemporary artist, writer and storyteller, based in Manchester, UK. Her work investigates memory and nostalgia to construct and deconstruct identity. She uses collage and painting to thread and weave histories, and tales of transformation passed down through family lineages. Her work typically centres female bodies, simultaneously existing within realms of past, present, and future. Her work is ultimately about migration, a gradual process of being and becoming the future. Her multimedia work reimagines relationships with the body as avatar, social space and the invisible world. Her artwork is a part of public and private collections across the world.
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Cookridge Street |
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Briggate |
The fight for freedom, equality and justice is the longest, most demanding, draining and dangerous of global wars to have ever been fought, and yet again, the most necessary battle for Black peoples. We can only afford to advance (for we have a lot at stake) and therefore to retreat or surrender is out of the question, for there is a cause! Sometimes, due to the brutal injustices we continue to experience as a people, we tend to forget or undermine the tremendous progress we have achieved as a minority group subjected to centuries of suppression.
Hold The Line is a work made to remind every descendant of the enslaved, the suppressed, the colonised and our allies of the deadly battles we have fought in this war, how long it has taken for us to get here – and the need to defend what we have attained so far. It also clarifies our responsibility to push for the best for the following generations by uniting more than ever today, in order to pave more ways for further progress. It also encourages openness, peace and love; keeping our hope for a utopian future alive.
A future in which difference is considered the key ingredient which holds and strengthens us together, rather than a tool for division. There’s no going back – we must take our place and own the space. We must tilt the ground and build things up. For out of the knowledge of holding a stake in a country, hope emerges. And with hope, we can build a better future that is diverse and inclusive, fair and just for everyone.
I believe the fight for racial harmony and equality is the one fight every person alive today must be concerned with, as we will truly do well as a people when every one of us does well. Therefore let’s not stop hoping for that utopian world we imagined from the start – our lives depend on it and no matter what happens we must always remember to hold the line!
Larry Amponsah (b.1989 Accra, Ghana) is a multimedia artist whose practice investigates traditional modes of image-making whilst employing unconventional strategies of production to look at the contemporary politics of imagery. Amponsah, traditionally trained as a painter, creates collages made of archival images, objects, and stories from various cultures in order to negotiate systems of power and create new ways of transcending boundaries. Amponsah transforms, prints and cuts into archival images, which he assembles in collages that are further worked upon using mechanical processes and his honed skills as a trained painter. In this succession of strategic moves about image-making techniques, dynamic compositions emerge, as well as compelling narratives or portraits that reference his own West African upbringing within a greater global narrative.
https://thebreedersystem.com/activity/larry-amponsah_genesis-the-plan-the-promise/
The fight for freedom, equality and justice is the longest, most demanding, draining and dangerous of global wars to have ever been fought, and yet again, the most necessary battle for Black peoples. We can only afford to advance (for we have a lot at stake) and therefore to retreat or surrender is out of the question, for there is a cause! Sometimes, due to the brutal injustices we continue to experience as a people, we tend to forget or undermine the tremendous progress we have achieved as a minority group subjected to centuries of suppression.
Hold The Line is a work made to remind every descendant of the enslaved, the suppressed, the colonised and our allies of the deadly battles we have fought in this war, how long it has taken for us to get here – and the need to defend what we have attained so far. It also clarifies our responsibility to push for the best for the following generations by uniting more than ever today, in order to pave more ways for further progress. It also encourages openness, peace and love; keeping our hope for a utopian future alive.
A future in which difference is considered the key ingredient which holds and strengthens us together, rather than a tool for division. There’s no going back – we must take our place and own the space. We must tilt the ground and build things up. For out of the knowledge of holding a stake in a country, hope emerges. And with hope, we can build a better future that is diverse and inclusive, fair and just for everyone.
I believe the fight for racial harmony and equality is the one fight every person alive today must be concerned with, as we will truly do well as a people when every one of us does well. Therefore let’s not stop hoping for that utopian world we imagined from the start – our lives depend on it and no matter what happens we must always remember to hold the line!
Larry Amponsah (b.1989 Accra, Ghana) is a multimedia artist whose practice investigates traditional modes of image-making whilst employing unconventional strategies of production to look at the contemporary politics of imagery. Amponsah, traditionally trained as a painter, creates collages made of archival images, objects, and stories from various cultures in order to negotiate systems of power and create new ways of transcending boundaries. Amponsah transforms, prints and cuts into archival images, which he assembles in collages that are further worked upon using mechanical processes and his honed skills as a trained painter. In this succession of strategic moves about image-making techniques, dynamic compositions emerge, as well as compelling narratives or portraits that reference his own West African upbringing within a greater global narrative.
https://thebreedersystem.com/activity/larry-amponsah_genesis-the-plan-the-promise/
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Victoria Arcade |
Rosanna is a multidisciplinary artist and teacher based in Leeds, Yorkshire. She uses a playful approach to mark-making, incorporating elements of collage, drawing and experimental painting to explore shifting cultural representations of everyday life.
Rosanna is a multidisciplinary artist and teacher based in Leeds, Yorkshire. She uses a playful approach to mark-making, incorporating elements of collage, drawing and experimental painting to explore shifting cultural representations of everyday life.
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Kirkgate Market |
This globe looks to recognise how even when faced with adversity; cooperation and sacrifice within the Black community has led to the conquering of obstacles and barriers throughout history. Each time, this has enabled future generations to build upon past progress, to reimagine our world and to continue to rise.
This globe looks to recognise how even when faced with adversity; cooperation and sacrifice within the Black community has led to the conquering of obstacles and barriers throughout history. Each time, this has enabled future generations to build upon past progress, to reimagine our world and to continue to rise.
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Leeds Corn Exchange |
Emmanuel Unaji was born in 1994 in London. He studied fashion design and completed a degree in Fine Art at Kingston School of Art, London in 2020. Dubbed by British GQ as the Nigerian Artist reinterpreting fashion illustration, Unaji’s a polymath who’s multidisciplinary practice is a wide spectrum, spanning fine and commercial artforms freely combining painting, drawing, collage and product design with adept experience in High Fashion, modelling for Brands such as Gucci, British GQ, Adidas amongst others. Emmanuel has carved out his own space, at the junction of luxury, performance and fine art, where he mechanically deconstructs select images and identities that the media offer up to us. Emmanuel is interested in engaging the viewer in a conversation, by exploring what lies beneath the surface of content that we consume. The essence of Emmanuel’s art practice navigates the socioeconomic dichotomy of creativity and business, investigating the intersection of autonomy and public persona, self and celebrity.
Emmanuel Unaji was born in 1994 in London. He studied fashion design and completed a degree in Fine Art at Kingston School of Art, London in 2020. Dubbed by British GQ as the Nigerian Artist reinterpreting fashion illustration, Unaji’s a polymath who’s multidisciplinary practice is a wide spectrum, spanning fine and commercial artforms freely combining painting, drawing, collage and product design with adept experience in High Fashion, modelling for Brands such as Gucci, British GQ, Adidas amongst others. Emmanuel has carved out his own space, at the junction of luxury, performance and fine art, where he mechanically deconstructs select images and identities that the media offer up to us. Emmanuel is interested in engaging the viewer in a conversation, by exploring what lies beneath the surface of content that we consume. The essence of Emmanuel’s art practice navigates the socioeconomic dichotomy of creativity and business, investigating the intersection of autonomy and public persona, self and celebrity.
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Meadow Lane Park |
Ali is a Northumberland based professional artist who studied and worked in the fashion and textiles industry. Her artworks observe the composition of patterns as an artform. Using the irregularities found in the everyday she builds a repetition of elements that begin to tell a story.
Ali has previously painted her designs onto a variety of large scale sculptures and is a published illustrator, helping create books that have become best sellers. As an environmental artist, her current work is inspired by the textures and the chaotic patterns of the underwater world. With an emphasis on illustration, her work blends traditional painting with digital techniques. Her work is commissioned commercially by clients in the UK, USA, Europe and Australia.
Ali is a Northumberland based professional artist who studied and worked in the fashion and textiles industry. Her artworks observe the composition of patterns as an artform. Using the irregularities found in the everyday she builds a repetition of elements that begin to tell a story.
Ali has previously painted her designs onto a variety of large scale sculptures and is a published illustrator, helping create books that have become best sellers. As an environmental artist, her current work is inspired by the textures and the chaotic patterns of the underwater world. With an emphasis on illustration, her work blends traditional painting with digital techniques. Her work is commissioned commercially by clients in the UK, USA, Europe and Australia.
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