Yellow by Abby Ayoade

ISSUE 01 ILLUSTRATION

EDITOR'S INTRODUCTION

There are many reasons behind the choice of name for the magazine. “Yellow”, by definition, is any of a group of colours of a hue resembling that of ripe lemons and varying in lightness and saturation. Firstly; the obvious. We have a well-established “lemons to lemonade” motto that we’re aiming to achieve through using societies’ marginalisation of artists of colour to create our own space. A space where our work is normalised and is not forced to crouch but is allowed to stand as tall and as bold as we want it to. Secondly, artists of colour and the work produced by us, vary in lightness and saturation; yes we do sometimes use art as a medium to explore our race and culture, but that’s not all we do. Art can be expression of identity, but identity is not directly and exclusively limited to race. Art is also fun, it is colourful and it is individual. Thirdly, we chose “Yellow” because it’s not gold. In order to normalise the works of people of colour, we need to make sure that the humanity of people of colour is not forgotten in their praise. We need to show that we celebrate the process as much as result and progress as much as excellence. In this first issue, we not only present to you contemporary artists of colour who strive to express beyond obstacles, we give you the stories of their evolution. From childhood to maturity, the following pages are gifted to you as a booklet of journeys, a collection in which ‘ethnic minority’ artists have the liberty to recount and reflect on their process; what makes them artists, and where it all began. Editor-in-chief, Aisha Ayoade

CO-FOUNDER / EDITOR IN CHIEF Aisha Ayoade

CO-FOUNDER / CREATIVE DIRECTOR Oreoluwa Ayoade

SOCIAL MEDIA MANAGERS Aisha Ayoade Jasmine Lee-Zobgessou

CONTRIBUTORS Yewande Akomolafe Hope Cunningham Felicity Woodway Jasmine Lee-Zogbessou

GET IN TOUCH www.yellwzine.com Email: info@yellowzine.com Twitter @yellowzine Instagram @yellw.zine

FEATURES

A-F

Amisha Acharaya Catherine Morton-Abua Charlotte Edey Chawntell Kulkarni

06 10 14 20

M-R

Maia Aranovich

Manveer Mamamanvz Nana Akua Ojima Abalaka Olivia Mathurin-Essandoh

G-L

Habiba Nabisubi

Hannah Ekua Buckman Isak Ngama Israel Kujore Joy Miessi Karis Richards Katrina Buatista Kingsley Nebechi Lapoze Judaku Laylah Amarchih

Paris Walker-Barnes Raymond Fielding

24 30 38 42 48 52 56 62 68 72

Randy Amoakohene

S-Z Saffa Khan

Sara Gulamali

78 82 86 92 96 102 106 110

114 118

AMISHA ACHARYA

Amisha grew up a storyteller; being a lover of anime and

the femme form is presented without any pre-existing

manga, she would use art as a visual representation of her

construct or ideals. Through creating a representation

childhood imagination. However, it wasn’t till the age of 18

of female form outside of the confines of the patriarchal

that she truly answered her calling as an artist. In 2015

gaze, Amisha aims to “evoke a sense of otherness” within her

she began creating for an audience other than herself

audience. “I used to draw girls and try to make them look

and gradually became more confident as she acquired

perfect; high cheekbones, perfect body, all of that. Now

a supportive reception, “knowing people respect my

I focus more on the little details and colours rather than

work made me feel like even though I create for myself

making the subject of my drawings fit societal ideals.”

it doesn’t have to be exclusive, it can be for everyone; art is

She holds value in creating for the self. Amisha

for everyone.” Being born in Nepal, moving to England

believes that the artist is the core audience of the art.

when she was 12 was a huge culture shock for Amisha, which

She believes that without vision and the creation for

became reflected in her work. “I think being an immigrant;

oneself first and foremost, art becomes lost and lacks root.

you can’t detach yourself from it. It becomes a marking on

“Art should never give into consumerism or be something

you and something that will forever describe you. I try to

to please the masses. Whether you make art that represents

portray this ‘otherness’ in my artwork using colours,

the current world politics or something that transcends

shapes and textures.”

the shenanigans going on in this earth - just be true to yourself.”

“ I THINK BEING AN IMMIGRANT; YOU

CAN’T DETACH YOURSELF FROM IT. IT

BECOMES A MARKING ON YOU AND SOMETHING THAT WILL FOREVER DESCRIBE YOU. I TRY TO PORTRAY THIS ‘OTHERNESS’ IN MY ARTWORK USING

”

COLOURS, SHAPES AND TEXTURES.

She uses her work as an outlet for the “otherness” that resulted from migration. “There are layers within my work that’s representative of being an immigrant like putting a girl who doesn’t look of this world against a metropolis background or a blue girl with cat ears.” Through her work Amisha also aims to deconstruct the limited and oppressive box that the female form is everso-always placed in. She describes her work as “feminine, strong, violent and emotional”, her representation of

Social Media: @artbyamichu

CATHERINE MORTON-ABUAH Gal-dem illustrator Catherine Morton-Abuah began defining herself seriously as an artist at the age of 14, however her first piece of art that to memory was age 11. “I loved getting my drawings really accurate, getting images of my favourite cartoons up on Google and tracing them! I realise now that that’s cheating (and lowkey plagiarism), but I think it was of Homer Simpson as The Hulk. I brought it into school and denied all accusations that it was traced!” Catherine’s “silly and weird” personality along with her like-minded friendship group “shout out to the crew and the gang @summerdrownedrats”, are noted as the main inspirations behind her work. “Constantly from the weird shit they say to the looks they serve. Seeing

black/POC youth excelling right now, especially in the UK (Sistren, gal-dem, BBZ to name a few) really drives me to work hard and stay passionate about what I do.” She feels a duty to create work that is inclusive and diverse, which is a big responsibility. To allow a natural diversity in her work she has been working on making her art personal, “I represent myself, my experiences and celebrate my growth as a WOC. I am always working to represent POC in multi-faceted ways since we are complex. Being you unapologetically, loving yourself unconditionally, especially for POC is radical as society has told us for so long that we are less than, we are the other.” Her role as an illustrator for Gal-Dem magazine enables her to express her complexity as a WOC artist through various outlets, from designing posters for events they host to illustrating articles for the website.

“ WAS PAINTING DAVID CAMERON AND NICK CLEGG AS MONKEYS, THE MONARCHY WERE NOT SAFE EITHER!” Through her work, Catherine believes to have a stronger voice because “I draw what I may not be able to communicate as well verbally.” When the tuition fees rose to £9000 in 2010, Catherine drew inspiration from Banksy and “was painting David Cameron and Nick Clegg as monkeys, the monarchy were not safe either!” Right now, she describes a lot of her work as being more about honesty with herself. Although, she went through a period which was focused more upon realism than meaning, she later realised creating work for her “is a form of healing and enjoyment”. By reclaiming her identity through her work, she fights against what society has told her she can be. “There is no exact way to be ‘black’ or to be a woman so just being your most authentic self through your work is enough.”

Social Media: @Catherinem.a

CHARLOTTE EDEY harlotte’s

work,

self-described

of colour”. Therefore, her work is an exploration of

as “utopian minimalism meets

“the elegance of the female form and the unique beauty

Afrofuturism”, is contemplation

of natural afro hair”.

on identity, and the harmonies

Reflecting on her search for validation in her

and contradictions of her English,

childhood as a young black girl, she aims to create

Bajan and Irish heritage. She

art which provides positive endorsement for women

enjoys the use of contrasts: “the

who need this.Charlotte doesn’t believe in the dictation

sterility of modernist architecture

of meaning in art. Although she creates with a clear

with lush, organic views or arid landscapes with pops of

intention, she acknowledges it may be “perceived

liquidity”, the trademark of her work being scale; “small

entirely differently due to the viewer’s own experience

characters in enormous compositions” and vice versa.

and that’s the beauty of it!”

Recently illustrating on a documentary in rural

“When I respond to a piece of work, I consider it

Kenya for the BBC, Charlotte reflects on her “not at

a personal reaction. The intent of work is interesting

all linear” growth to becoming an ‘artist’. She did a

for context, but doesn’t alter my own connection.”

year at Chelsea School of Art & Design in London,

Understanding the interpretation of race focused art,

before taking time out with loose ideas of travelling.

Charlotte recognises that by “celebrating or depicting

Instead, she began a graphic design internship which

your heritage, there will always be people who

turned into freelancing. In 2016, following a summer of

consider your work niche or automatically ‘political’”.

exhibitions, Charlotte committed to making art. For the

However she’s an advocate of freedom of expression

first few years, after working in between graphic design,

and thinks artists of colour don’t have “a responsibility

illustration and fine art, putting out work felt a bit “like

to create work about race […] it’s reductive.” She

throwing something into an abyss and wondering if

says, “On the other hand, your perspective and voice

anything would come back”.

will be inevitably shaped by your racial experience

However when she continued exhibiting regularly, she began to build her audience.She started drawing,

so I wonder if it is even possible to create work that truly transcends race.”

semi-seriously, in her late teens. It was heavily detailed, monochrome works that were curiosity-driven rather than message-driven. However as she matured, so did her art and the narrative became more considered. She believes “the work you make reveals part of your essence, subconsciously or not.” Her self-identification played a significant role in her art. When she started to embrace her natural appearance, a couple of years ago, she began working heavily in colour and now rarely works in monochrome. Charlotte’s believes “there is a lack of delicacy and nuance in depicting women

Website: charlotteedey.com

“ There is a lack of delicacy and nuance in depicting women of colour.”

CHAWNTELL KULKARNI When Chawntell first started creating at the age

Through maintaining her focus by creating art

of nineteen, it was just for fun, she tells us. She had

which she enjoys visually and not enforcing a “deeper

the idea that she would be an illustrator for a comic, or

connection” between herself and her work, Chawntell

create concept art for video games. Currently, she still

follows the direction she feels is natural for her and

describes herself as an illustrator rather than an artist,

strays far from the limiting box that artists of colour

believing “that artists have some form of responsibility

are often cramped into.

to depict a story or deeper meaning behind their work, but my work largely lacks the type of substance

Social Media: @lilchanzart

required to describe it as art.” For Chawntell, drawing and painting is a hobby, something she likes to do on the side whilst feeding her passions for the sciences, specifically physics. Although she moved to England from India at a very young age, Chawntell’s Indian heritage plays a large part in her work. She draws a lot of her inspiration from old Mughal paintings, and religious artwork from Hinduism.

However, more recently she appears to

show focus upon “Asian femmes and representing them. Dark skin, body hair, hooked noses, this raw natural beauty that is dismissed under the European standard that has weaved its way into our societies, and is mindlessly accepted.” However, although Chawntell’s focus is upon the Asian femme, she is wary of using that to define her body of work. She believes “there’s an expectation that our work should solely be a conver-sation on race, and that if it is not, it is often ignored.” She still manages to do some experimenting with her style, but one thing that remains the same is the focus on people and characters. She acknowledges that art created by people of colour that is not race-centric is often disregarded, and as a result “we end up having to create under European narratives of ourselves rather than create something representative of our actual stories.”

HABIBA NABISUBI I n 2015 Habiba established a relation-

the thousands of other factors that make

ship with an incredible woman, Verna

us who we are, Habiba believes “ones

Wilkins, who founded the publishing

identity is so rich and complex, there

house Tamarind in 1985 (now part of

is a plethora of exciting, impotant and

Penguin Random House) and was the

enriching outcomes that can be inspired

original champion for diversity within

by it”. She believes every artist of colour

children’s

Last

creates art based around their race/

year Verna and Habiba began talks

ethnicity at some point in their lives,

of potential collaborations with Biba

because “you are the gatekeeper to your

illustrating works written by Verna.

own identity and narrative and there is

Being enthralled with the reality of

a power in that alone. Taking ownership

the situation; a child that Verna had

and being unapologetic about who you

inspired with her books 15/20 years

are as an individual and artist is very very

ago contacting her as an adult with the

cool. I’m not sure I could define how mine

desire to illustrate those same stories,

appears in my work but I definitely know

Habiba notes this as one of her biggest

I try to make it present.”

picture

storybooks.

“ YOU ARE THE GATEKEEPER TO YOUR OWN IDENTITY

artistic achievements. “It was a too good

Although still seeking her “artistic

to be true, full circle kind of feeling that

voice”, her experiences being bi-racial

is still a bit much for me to comprehend.

and female have played a huge part in

THERE IS A POWER IN

I am so proud to know her and call her

inspiring her work. “I draw inspiration

a friend. I genuinely consider her my

from my Ugandan and British heritage

fairy godmother!”

and having lived in both places. I try to

THAT ALONE.”

She considered herself an artist

celebrate and champion diversity. I feel so

from as early as 5 or 6, simply because

passionately when it comes to children’s

she’d always been drawing and her

picture storybooks in particular. Children

“tunnel vision” led her straight to the

need to see themselves represented in

study of illustration. “My mum would

print from a young age. It gives them

literally put a pencil and paper in my

a sense of self-worth, value and place

hands when I was in a pushchair. I

within society. I certainly cherished

would be perfectly content sitting and

whatever books I could get my hands

drawing for hours!”

on that I felt reflected me, though these

Habiba creates the work that she

books were few and far between. Things

wants to see. Attempting the fill the

have come some way in the last 20 years

gap between the perception of women

but the lack of diverse illustrations and

and the actuality of womankind, Biba’s

stories is still very real.”

art is typically based around female empowerment. She labels her body of work as “Playful, honest, womanist, conscious and progressive.” “Identity is such a personal and powerful subject matter” whether race or gender or all of

Social Media: @bibanabi

AND NARRATIVE AND

HANNAH EKUA BUCKMAN

The beauty of Hannah’s work lies within their natural

other black and oppressed people like that. Sharing the

abstractness. Her body of work appears to represent

success.” When asked about racial representation in art,

ease and intent at the same time. Her art shows a

she tells us, “I feel like representation is still important

strong focus upon figures, characters and colours. The

and the act of resistance in itself, looking at Kerry James

natural, playful visuals within Hannah’s work is a method

Marshall’s work for example is really nice. Just to see

she cultivated in her years as a pre-mature artist; “My

black bodies doing normal things. I keep thinking about

grandma posted a drawing I did when I was 3 to my

what Hamishi (Xamiishi) Farah said at a lecture he did

facebook wall on my last birthday. A self-portrait, I’ve

at Goldsmiths “championing black mediocrity””. She

drawn big round eyes with spider lashes and a wobbly

discusses the lack of normalization of POC art and POC

brown nose then a mouth which is the same sausage

life in general, addressing how people of colour are not

shape as the nose but turned on its side.” This child-

celebrated unless they are seen as exceptional, having

like, care-free, form of work leaves its footprints in

to prove our worth rather than it just being something

the 24-year-old illustrator’s body of art. Currently she

inherent. “Start by working 5 times as hard, then multiply

describes the defining features of her art as its colours,

that by 10...ok now you qualify to be around us” - a white

“i’m into browns, mossy yellowy greens and ugly colours.”

person." To conclude, Hannah says, “I’m all for just being

Hannah’s work holds a duality that is unique. She

my mediocre self”

creates art for its visuals mainly, moulding her work in accordance to her “experiences and memories from birth to now. Before, I thought I was using art as a sort of cry for help with pangs of catharsis. However, I’m becoming more accepting of my ordinariness. In Magic Lessons podcast Elizabeth Gilbert quotes Tom Waits saying “the only thing I do is make jewellery for inside of other people’s minds” and I just let out this huge sigh like yes, that’s all I’m doing, just a little thing for someone to look at.” However, on the other hand there is a yearning for meaning below the aesthetic surface of her work. She is inspired by Hamishi (Xamiishi) Farah’s practice. Particularly referring to a powerful painting he did of Aallyah, (who punched a white person who called her the n-word). The video went viral and Hamishi was hoping to give her some of the profits he could make from selling the painting. Inspired by that, Hannah tells us “I’d really love to figure out a way that my work could elevate

Website: hannahbuckman.co

" BEFORE, I THOUGHT I WAS USING ART AS A SORT OF CRY FOR HELP WITH PANGS 36 OF CATHARSIS. HOWEVER, Iâ&#x20AC;&#x2122;M BECOMING MORE ACCEPTING OF MY ORDINARINESS."

ISAK NGAMA A rtist and creator of fashion collection

is still the same.” Similarly, Isak’s fashion

‘Maison Isak Marion’ was born in the

collection shows a great focus upon the

Democratic Republic of Congo and

optical. At “Maison Isak Marion we value

raised in Britain. Similar to some of our

the space between the garment and the

featured artists, his attraction to the art

body, […] aesthetics for aesthetics’ sake.

world began through a childhood love for

Keeping artisanal alive.”

anime. Dragon ball Z and Naruto amongst many others introduced him to the first

Social Media: @Isakbluuboy

cast of his art. Isak frequently drew anime characters in his work and then shortly after, his GCSE teacher acquainted him with fine art and helped him broaden his inspirations, “from Andy Warhol to Rapheal Sanzio, I guess my early school work was a starting point.” Isak refrains from label-ling his work, or necessarily the work of other artists. “I think be free, I just create art depending on my mood and what I feel I want to express.” Without placing a definite label upon his work, he allows himself fluidity in his body of work. He explains “My art doesn’t really have a distinct style, as I think style marginalises you from exploring different sectors but don’t get me misconstrued, because having a style does define a person.” Accordingly, a lot of Isak’s work is selfdescribed to be “created out of a memory of love." On the other hand, his work can also sometimes be political, and music for example his piece ‘33 god’ (like the Bon Iver song) “is about 3 kids who were lost & stayed in a Villa.” Although there are many different physical manifestations of Isak’s thought processes;

whether

through

art

fashion “as cliché as it may be love is my inspiration, so I think my meaning

ISRAEL KUJORE

He goes by the alias ‘Noodle Boy’, his own art alter ego.

“I’d say I defined myself as an artist over summer

A lover of musical characters such as MF DOOM, The

2015, when I started getting back into creating art in

Gorillaz, and also anime and manga, Israel’s inspirations

my spare time and taking it more seriously.” The ‘other-

are very apparent within his body of work. “They are

worldly’ character theme is a trademark Israel carried

characters and/or alter-egos and I feel like there’s so

with him for a young age, the earliest piece of art he

much to characters in terms of their image and context.

remembers making is “probably when I was around 3/4

It’s hard to explain”. Developing an alter-ego for his art

and I’d draw robots. I feel like there isn’t really a deeper

allows Israel to connect to the world with a different

meaning to most of my work and there hasn’t before.”

perspective. Although speaking through himself, the

In the battle between meanings versus aesthetics Israel

characters provide an ‘other worldly’ element that can

leans more towards the latter, “I just have an idea or

be traced through Israel’s pieces. Working through other

imagine something and just output it in the form of

characters “makes me think about how cool it is to create

artwork. I couldn’t even label it. Not in a pretentious

a character or a different version of you that has its own

way, I’m just still trying to work out things for myself

world and stories”, he explains.

and continue to experiment, so I’d prefer others to draw their own meanings, but I would say ‘Noodle Boy’ is the

“ MAKES ME THINK ABOUT HOW COOL IT IS TO CREATE A CHARACTER OR A DIFFERENT VERSION OF YOU THAT HAS ITS OWN WORLD AND STORIES” He believes he’s still working towards a refinery and definition of his work; however there are certain tellers in Israel’s art that show a belonging to him. His distinct focus upon hands and faces in his work make his pieces recognizable and he also mentions “the way I use markers” as the trademark that –although subtle- is distinctive to him.

label for ‘half’ of my body of work.” Israel encourages a divergence from strict definition in art, and believes that the fluidity of human thought should have place for representation in our art.

Website: @boodlenoy

JOY MIESSI “From exploration of my gender, to under-standing

new narratives out there that people may have found

my culture, my work has always been a reflection

taboo before.” Joy mentions to us that being a part of

of myself and all the intersections within me” says

movement was a stepping stone and an honour in her

25-year-old British illustrator Joy Miessi. Though

artistic career as she featured work alongside artists

the medium of her work has changed through

of colour that she admires.

natural experimentation over the years; animation,

“My uncle would always tell me I was an artist as

portraiture, line work etc, the story underneath has

a kid, so I took on the title early.” Joy tells us that one

been consistent, “it is a documentation of myself.”

of her first pieces of art was a landscape drawing of

Born in London and having Congolese origin, resulted

a circus for school competition. “I came third place

in Joy’s upbringing in the home being a mix of her

and was pretty upset by that as I wanted to win the

Congolese heritage and British culture. “I make a lot

first prize chocolate egg, which was huge.” As a rather

of work about my culture, my experience in Congo,

sentimental child she kept drawings from primary

my family and feelings of displacement in the UK and

school days, “which ranges from abstract portraits to

in Kinshasa.”

drawings of shoes.” However there was a period of time when Joy stopped identifying herself as an artist

“ I FEEL INSPIRED BY THE

until she started to “reclaim that in college when I had started a tumblr just for my artwork.” Although she didn’t come up with a definite label

NOW, CONVERSATIONS,

for her work, she mentions she “would probably just

MOMENTS AND THINGS

etc’ as these colours are consistently in my work and

HAPPENING IN OUR TIME”

label it as series of colours ‘Yellow, Orange, Blue, Red hold strong personal connotations for me and simply because I love colour!”

Being constantly surrounded by two distinct cultures, Joy claims it is impossible to for her separate race from her art. “My work is about me, and how my race and gender affect the way that I am perceived in life. However, in general, I believe black artists should make whatever they want to make, without feeling the pressure to conform to an aesthetic of “black art””. She was selected as one of the artists for the Afro Portraitism exhibition curated by Hamed Maiye a movement described by Maiye in Dazed Magazine as a “black renaissance […] black people are putting

Website: joymiessi.com

Joy’s work has certain motifs that although are unknown to herself, have been noticed by viewers and friends because of her consistency. Her work can be recognised through the inclusion of cut out shapes, a use of dashes “when I run out of space for text” and her handwriting, which makes her work personal. “I definitely agree on the dashes, it’s one of those habits I haven’t learnt to shake when writing but now embrace in my art.” Though she makes art sometimes for the “therapeutic” effect it has upon her, she values audience interaction with her work and finds fascination in how a piece of art so personal can encourage strangers to “find pieces of themselves in [her] work.

KARIS RICHARDS 22

year

old

Richards

has

about

sentiment

than

monetary

always defined herself as an artist,

success, “I’ve got to say that making

“I remember making a clay sculpture

my mum cry when I gifted her with a

of a face in nursery and I was praised

portrait of my Nan for Mother’s day

for giving the figure nostrils. I think

was a pretty big deal to me.”

I’ve always been very aware of the

“I think it’s the simplicity of black

human face and maybe that’s why I

outlines and bold colours and the fact I

always find myself referring back to

don’t reach for perfection in my work…

drawing portraits.”

I like things a little messy. I also don’t culture

know if many people pick up on the

work,

fact that I frequently use hearts in my

Richards highlights such themes as a

work… It’s kind of becoming a signature

manifestation of her British Identity.

of mine.” She admits, “The majority of

From

Having and

Karis

Jeremy

used

Grime

Corbyn

her

Champagne

my work is a bit hard for viewers to

Papi, however, her inspirations are

draw their own meaning from seeing

everywhere. She highlights Solange’s

as my work is portrait heavy. This being

‘A Seat at the Table’ as life changing, “I

said I’d like to think people draw their

had struggled to balance illustrating

own opinion and emotional responses

and keeping my mental health under

towards my work.” Richards strives to

wraps so my art took a back seat for

create art that people will enjoy as she

a few years. It’s crazy to think that I

finds her feel in the illustration world,

didn’t illustrate other than maybe on

“I just want to make feel good art for

one or two occasions for two years but

the culture.”

Frida

Kahlo

something about Solange’s body of work

To her fellow artists, Richards says

sparked something in me and for that

“there’s no better way to empower each

she is a huge part of my artistic journey.”

other than to celebrate colour and to

R ichards

defines

art

her

create an artist community that does so.

“happy place” and uses it as a medium

I guess it’s really dependant on an

of expression that has only recently

artist’s body of work and the message

become a career, “I’d received payment

they want to emit.”

for my first commissioned piece of work and it really dawned on me that I could make a career out of something that I love. I‘ve framed a note from the money I’d made to remind myself that it’s possible to form a career out of illustrating.” The most rewarding moment her career however is more

Social Media: @karisillustrations

KATRINA BAUTISTA K atrina Bautista – the 26-year-old

Katrina’s notes her biggest and

artist who has defined herself as such

most meaningful artistic achievement

for 17 years. Born in Glendale, California,

to date to be her degree showpiece.

Katrina was raised in London after the

It encompassed a collection of ink

first six months of her life, integrating

paintings hung behind an installation

her own British identity into her

of a black matte plinth, with a black

illustrations. Describing her art as “the

fabric body placed on top. “It was

one thing that I felt gave me a sense of

like a mausoleum of personal trauma

purpose”, Katrina admits to how innate

experienced

art was for her from an early age. She

of university.” As a result of the

says: “Ever since, I’ve been in the UK, I’ve

emotional and versatile relationship

during

third

year

always had this particular image of what

had with her work, Katrina encourages

it meant to be British and until only very

disconnection from the creator and

recently, I’ve always found myself always

believes in order to have a true

drawing characters of white origin.”

conversation

“[That] concerned me, since every time I drew a character from my mind

with

her

by the viewer.

with a face it never came out as a person

Social Media:

drew these white ideals of what I would

@katrinaymsonillustration

has veered into a different territory. She illustrates “limbless female bodies with heavy cross hatching”, she uses a very limited palette of red, beige and black as a symbolisation of stagnation and helplessness to a focused reconnection with her Asian identity, Katrina gets inspiration for her work from childhood memories and her observations of the people and spaces around her and how she relates to them. “Personally, I feel my current illustrations are so sporadic - they don’t at the moment share a very obvious label. But, if I had to it’d be called ‘Gaze’ as each piece either has direct gaze upon the viewer, or side-gaze.”

the

definition of her art should be spoken

of colour. Subconsciously, I feel like I have liked to embody.” Lately, her work

work;

“PERSONALLY, I FEEL MY CURRENT ILLUSTRATIONS ARE SO SPORADIC THEY DON’T AT THE MOMENT SHARE A VERY OBVIOUS LABEL. BUT, IF I HAD TO IT’D BE CALLED ‘GAZE’ AS EACH PIECE EITHER HAS DIRECT GAZE UPON THE VIEWER, OR SIDE-GAZE.”

KINGSLEY NEBECHI 26-year-old freelance illustrator and

absorbing the details I come across

seeds and watching your achievements

creator

well-known

every day. The more I discover, the more

flourish. As a Black Artist it’s very

“Merky” album campaign logo, Kingsley

Stormzy’s

I create.” Lately he has been focusing on

important to comment on your own

Nebechi was born in Poggibonsi in the

fashion and patterns, two of the things

culture and elevate those around you.

province of Siena, Italy. He grew up in

he’s constantly exposed to as a young

I hope my artwork can make a young

a town surrounded by structural art

person living in London. As an artist,

girl feel confident in herself and proud

and subsequently his childhood had

Kingsley feels “it’s very important to

to be black.”

a great influence upon his art. “The

keep your eyes open and observe your

architecture especially; the level of

surroundings as inspiration comes in

detail is phenomenal and it often makes

the most unexpected moments.”

you wonder how it was all designed so

Aside from having his environ-

well. I try to inject the same level of

mental inspirations, Kingsley also has a

detail into my work.”

broad range of inspirational icons from

For some years Kingsley spent

popular culture. He explains that it is

time developing himself as an artist

important for him to (sometimes very

and it took a while for him to gain

subtly) incorporate socially involved

the

popular culture figures, such as Erykah

particular, a live drawing event acted

Badu and Frida Kahlo his art as they

as a catalyst towards his self-definition

are “little details that represent the

as an illustrator, “over the course of

things I’m interested in as a way to

the night I’d drawn various pieces

add a more personal touch to my art.”

of art in front of many people in the

Also one of his art idols is Vladimir

venue. Not only did it make me feel

Tretchikoff; Kingsley expresses his love

more confident as an artist but it also

for Tretchikoff in the way “he captures

taught me to not be afraid to show

poses, facial expressions and the outfits

my skills.” H is first steps into pursuing

worn by the women it’s incredible. T he

art as a serious study came around

women are elegant and confident.

the age of 18 when he found himself

I try to get a similar feeling in my

looking through art courses in college

art.” He takes pride in embedding his

prospectuses. This was around the

personality to his artistic characters.

same time he met inspirational graphic

Kingsley’s love for patterns can be seen

designers and artists that were working

within most of his pieces, combining one

as full time creatives. “It suddenly hit

or two different patterns, “colours are a

me; I could really turn my hobby into my

very important factor in my artwork. It

career! So I enrolled in a 2 year Graphic

brings the elements to life so I spend a

Design course and began laying the

lot of time making sure the colours are

foundations to what eventually became

spot on!”

self-assurance

needed.

my creative path.” Ever since then,

For Kingsley, the reward for his art

Kingsley has been taking to the sea of

comes from the response received from

art like a “creative sponge, constantly

friends and family,” it’s all about planting

Website: kingsleynebechi.co.uk

â&#x20AC;&#x153; T he more I discover, the more I create.â&#x20AC;?

LAPOZE ‘JUDAKU’

F 68

or 23 year old Lapoze, being able to

The support of her family is evident both in her

embrace the duality of her identity

artwork and artistic identity that has seen the young

allows her to access a deeper meaning

artist commissioned for work in Dubai and hold her

in her artwork: “although I do identify as

own exhibition. As an artist of colour, Lapoze believes

British, I believe that I strongly identify

that she and her counterparts should create whatever

as an African woman. My love of colours,

the heck they want! She intends for her work to

patterns and African spirituality finds its place in my

speak volumes and does so by creating work that is

artwork.” This love of colour is manifested through an

unashamedly LOUD. “Art is a powerful tool, it can draw

imperfection of figures in Lapoze’s work which she

people together or pull them apart. If they want to paint

describes as distinctly her essence: “I love imperfectly

their race predominantly then so be it. It will be good for

perfect interpretations of people and items”. Such an

the future generation to see themselves in traditional

approach to art allows the audience to interpret in

art forms.”

whichever way they wish, just how Lapoze intends it to be, and in turn she is able to get an insight into the psychology of her viewers. Lapoze notes her mother as being a big source of inspiration; her spirituality allowed her to access the world of the other: “her love of herbs that she used to heal and her ability to predict certain things scared me but filled me with awe.” Additionally, Lapoze credits the defining herself as an artist to the encouragement of her mother: “she told me to embrace what I am and what I do. She told me to let go of insecurity and accept my title as an artist”. Her mother’s African spirituality is but one source of inspiration as Lapoze is stimulated by religions such as wicca and their use of tarot cards, as well as Buddhism and magical realism. Lapoze recalls the defining moment of her artistic career; “my father introducing me to his friends as an artist”.

Social Media: @afrojudaku

â&#x20AC;&#x153; I love imperfectly perfect interpretations of people and items.â&#x20AC;?

LAYLAH AMARCHIH

llustrator Laylah Amarchih identifies the key

“It seems that we can fall into a trap of becoming

influences of her work deriving from her Moroccan-

quota fillers for universities and galleries looking to

Finnish mix: “My Moroccan culture influences my

diversify, but the work can get lost.” Whilst heritage is

colour pallet and interests in terms of making

important for an artist’s work, Laylah believes we should

work about Tangiers (my father’s birth place).

question why the race of white artists is not a talking point.

My Finnish influence is more towards design.

“Not all work people of colour create is about race, it would

I have always loved Scandinavian design from ceramics

seem silly to deny this aspect of yourself, but we must be

to textile print.” Born and raised in America until the

honest in saying it may not always be the driving force

age of 10, Laylah defines herself as an illustrator. She

for making certain work.”

explored her creativity at a young age, producing comics with her older brother and drawing portraits of family “in a carefree way that allowed [her] to explore

[her] creativity.” At one point she also thought about studying fine art but chose design instead for the nature of commissioned work. However, her work started to change over the years: “I feel my work was a lot more politically charged whilst at school, but my work has become more based around process and narrative. My art is mostly inspired by people and places; I am a nostalgic person so memories also play a role.” “I will often draw and write small passages to relate to what I remember from an experience” she tells us. Laylah notes the importance of art having a sense of the artist. She explains: “It should be subjective but the artist’s voice is important also.” However she recognises a complex dilemma for creatives of colour like herself not being able to simply identify as an artist. “There is a very fine line between being known as an artist and an artist of colour. We begin to question, does our work have integrity on its own or is the selling point that a person of colour has made this?”

Social Media: @Laylahamarchih_illustration

“ THERE’S AN EXPECTATION THAT OUR WORK SHOULD SOLELY BE A CONVERSATION ON RACE, AND THAT IF IT IS NOT, IT IS OFTEN IGNORED.”

MAIA ARANOVICH “ I’d define my main body of work as figurative graphic drawings with a

communities encountered.

colour palette true to my Latin roots”

Maia likes to provide context for her

says Anthropology graduate and gal-

work dependant on the body and type of

dem illustrator Maia Aranovich.

work being produced at the time. “When

She

recently created an installation at gal-

my work is overtly expressive I think the

dems V&A takeover in October last year.

drawing itself provides enough context.

“Creating a collaborative piece with

But for a series of work like these other-

women of colour in such a historically

worldly/folkloric faces, I prefer to give

euro-centric institution felt incredible.

some brief context.” She believes the

It was empowering to see how such

artist’s journey itself is so insightful and

small acts can contribute to subverting

“can transform a piece of work into a

powerful ideological structures.”

natural surroundings and the indigenous

However,

presently

Maia

window into their mind” and therefore has

would rather people looking at her work

shown interest in making things with

understand the underlying intentions

her hands, rather than through a screen,

and thought processes.

“as that for me is a number one draw-

Although being from Latino origin

back, I recently painted a mural and

and being raised in a cross-cultural

enjoyed it so much and I’m at a point now

environment, Maia does not identify

where I’m increasingly drawn to print-

herself as a person of colour, “my

making techniques and also paper cut

lived experience as a Latina woman

outs.” She’s scheduled to start a three-

is not comparable to that of people of

month artist residency in Colombia in

colour.” She discusses the expectation

September and is hoping to use the

for artists of colour specifically to

space and time to dedicate herself to

constantly address their experiences

producing exciting new pieces of work.

of oppression or themes of race within

“My ideas are continuously shifting”

their work, “but their experiences and

she tells us. When she turned to art in

my experiences are so varied and many-

recent years after a long hiatus, Maia

fold”.

found it to be an emotional release. “It

In terms of her own heritage, she

really helped me through a very anxious

explains to us that her work has been

and unstable period of my life and it gave

a vessel through which she has fused

me strength in its cathartic qualities

her own cultural identity and that has

while also giving me confidence, in that

allowed her to comes to terms with it in

my style came quite naturally.” “The work

her own way. “Cultural identity is such

I produced around this time was based

a nuanced thing that is so personal to

around my issues with mental health.”

each individual both in terms of lived

Contrastively, she has been living and

experiences and ways of expressing

travelling in South and Central America

those experiences.”

for the last six months and her recent work has reflectively been inspired by her

Social Media: @Maiamagoga

MANVEER MATHARU / MAMAMANVZ It takes a lot to recognise one’s

a style, I think that would be it.” One

own talent in the art world, especially

subjective interpretation of Manveer’s

when being a woman of colour. So, for

work is that of, the portraiture being

a young, POC artist like Manveer, being

seen as wonderfully well defined, the

recognised by the celebrities she has

colour schemes incredibly inventive

drawn portraits of is a move that a lot

and the sketching accurate.

of new artists are working towards.

However,

this

emerging

visual

“Artists of colour should definitely

artist

celebrate themselves through their

artistry, by setting up her own online

work if they feel they need to – don’t

store where she can sell some of her

be afraid. It inspires fellow artists of

original art pieces and merchandise.

has

gone

further

than

just

colour and shows them that we CAN

“My biggest achievement would

and WILL be relevant and thriving in the

definitely be realization. It sounds

industry, and we will fill gallery spaces

strange but it’s like I’m hopelessly

with our loud and proud cultures.”

in love with creating. The feeling is

Culture plays such an important part

unexplainable, but nothing else in the

in artistic creation; it can be something

world has ever made me feel that way.

as unvarying as the music we listen to

I’m so grateful to feel such a powerful

everyday that could trigger a creative

connection with my craft because it’s

mind such as Manvz. When asked of

something I didn’t really understand

her musical muses she tells us, “I can’t

when I used to read about all my

choose out of M.I.A. – Kala, and A Tribe

favourite artists and how they were so

Called Quest – Midnight Marauders.

consumed by their love for what they

Both albums scream ‘innovation’, and

do. Now I can relate.”

tell stories. They are 100% my goto albums if I’m in doubt or lacking motivation, because somehow, they always seem to spark something in me. It’s amazing.” A lot of Manveer’s work consists of self-portraiture and is inspiring from a viewer’s perspective, into the premise of looking in the mirror and seeing different yet beautiful versions of one’s self, she says, “I feel like my whole personality reflects through my artwork – it’s loud and bold. I’ve also been told my technique of combining colour pencil with acrylics on cardboard is quite a distinctive feature – if I had

Website: mamamanvz.com

As we were singing along to Destiny’s Child classics in our youth, Manveer had her art kits ready to be the next Frida “When I was a child, I had a huge collection of colouring books and almost every colourful gel pen to exist. Creating art has always been my number one go-to.” It’s a journey for many artists to truly realise their style, Manveer found that the more she began researching artists that she enjoyed, the more she started trusting herself and realized that art is a journey. Of significance was the piece “The Two Frida’s” (1939) by Frida Kahlo, of this piece she says “it educated me to think beyond my physical identity and delve deeper into the surrounding influences on my life. Now I feel an attachment with almost every piece I create, and I love it. I am the art, and the art is I - it’s actually very overwhelming.”

NANA AKUA Here we have art work by Nana Akua. Inspired by

peers, Nana’s art has developed from light-hearted

culture, friends, family and various environments,

surrealism (her first piece of art being a 3D chanel

Nana’s work embodies themes of space, identity and

lipstick made of strawberry jelly), to pieces which she

social conditions. Through her illustrations, Nana

describes to have an “underlining dark humour”.

visually expresses her views on growing up a black

The technique in her recent collection is remi-

British female with a strong African heritage. The

niscent of the historical concept of “black face”; a

21-year old recent graduate uses both sculpting and

negative and derogatory imitation of the black

2D outcomes to portray a representation of Black

people. However, the use of the blacked out skin in

British identity that celebrates the culture as well as

Nana’s work inverts the stereotype. She gives her

addressing the journey of black people throughout

characters black faces to celebrate multiculturalism

history. After completing her University Degree in Art

in Britain. The combination of black face with bright

this year, Nana used her new found artistic autonomy

African textiles in Nana’s art weakens the power of

to develop her interpretation of black identity.

an oppressive practise by appropriating it. She also

Her artist expression led to outcomes which

uses this as a satirical tool in her work in order to

she described as “an amazing and overcoming

“lighten yet question the perceptions of my own

experience”. Similar to the works of her inspirers;

black identity and how I feel others perceive me” she

Sonia Boyce, Kara Walker, Kerry James Marshall, Yinka

explains. Through her work she aims to illustrate

Shonibare and Yue Minjun, Nana’s celebration of her

the historical oppression of the black and female

African heritage aims to fill a void in the mainstream

intersection and at the core of her work is her drive

art scene and give expression to voices unheard. She

to celebrate the creation of a positive outcome from

believes that expression of race through art does

a negative position.

not necessarily need to be overt but can be done symbolically. Nana labels herself as a British rose – “British female, beautifully British regardless of race” reconstructing and appropriating the traditional ‘English rose’ in order to show the power and meaning behind symbolism. The ambiguity in her work makes the sense of nostalgia all the more striking. Nana captures past and present images of herself, friends and family on a disposable camera and edits them to create a film effect that reignites and recreates memories. Although she only began defining herself as an artist recently, at the beginning of her final year of university, the sophistication in her artistic expression is wise and hard hitting. Encouraged by positive feedback from her

Social Media: @akua_saka

OJIMA ABALAKA

“It is possible to ‘transcend race’ and still celebrate

Being originally from the city of Abuja, the capital

your colour through your work” says 21-year-old

of Nigeria, and now on her year abroad Geneva, Ojima

Ojima Abalaka, when we asked her how she felt about

has put some thought into manoeuvring and defining

artist of colour doing art for art’s sake versus making

her “Nigerian identity”. “I am still trying to figure out

race-centered art. “Despite the difference in our skin

what my Nigerian identity is because it changes at

colours, people have similar and relatable experiences

different times and different places. I don’t think being

all over the world. Having said that, I don’t actively

Nigerian plays a noticeable role in my work, at least

think of transcending race when I’m making art, I just

not for now.” However she is currently working on a

focus on my reality and draw what I know, what is

series exploring the constructivist nature of identity,

familiar. I draw black characters because I’m black and

and although the work she does now is not necessarily

because representation matters.”

reflective of her Nigerian individuality, her origin did

Ojima is a Nigerian illustrator who is currently

play a role in sparking her passion. “I decided I wanted

attending the University of Sheffield undergoing her

to be known as an illustrator because I don’t know that

European and International Law undergraduate degree.

many Nigerian female illustrators. I felt there was a

Since Ojima found her love for art at the age of 8 when

representational gap and I’m trying to fill it.”

her father bought her a plate painting set she has been telling stories. “The goal has always been to tell stories. When I started drawing, I did it to accompany the tongue-in-cheek blog posts I was writing. I felt a visual aspect would make them more interesting to read. Now I draw for the sake of drawing. The illustrations now tell the stories themselves.” Unlike a lot of other young artists, for Ojima art has always been a serious pursuit. “I’ve not always known what I wanted from it but I’ve always taken my artistic interests seriously. I make the things I do because I enjoy making them.”

Website: ojimaabalaka.com

lthough recently commissioned for art by the New York Times, Ojima still struggles with the title as an artist. “Even though I’ve been making art in various forms for most of my life, I suffer from an incurable case of imposter

syndrome.” But similar to other featured artists, the positive reception received for her work plays a massive role in casting away artistic insecurities as she explains, “I guess I am starting to consider myself an artist since other people are starting to

see me as one.” When asked to label her work, Ojima explained, “I wouldn’t label my work because I’m always experimenting and trying new things. So many things and people inspire my work and it would be impossible to mention them all. But stylistically, minimalism drives most of my work. The simplicity of my work is what really makes it feel true to me. A part of me hopes that people always understand what I’m trying to convey but I know that this isn’t what always happens and I’m okay with that.”

OLIVIA MATHURIN-ESSANDOH Since graduating from her master’s

better at vocalising the meanings now”.

degree at the Royal College of Art Oliva

She calls her body of work “Findings

Mathurin-Essandoh (aka Olivia Twist)

from the babe you didn’t think was

has grown from strength to strength.

watching you.” Through this title she

Along with the great achievement of

explains the honesty behind her work.

the degree itself, she has also had some

“I’m just trying to give the mundane its

success with her final piece of academic

beautiful due.

art work which won the Quentin Blake

I would say I make complex marks

narrative drawing prize. “I have never

out of a very simple tool and I think

won anything before, so to win it for

that there’s some symbolism in that.”

a piece of work feels so honest and

She believes that art is about some

unapologetically warms my heart. I

element of transparency. Olivia creates

can’t believe it. It has been the hardest

work in order to form a dialogue

thing I have done to date, but the

between the “creating and digesting”.

most rewarding.”

Although she may intend a certain

In her series of work displayed

meaning when creating, she’s open

from a project entitled “The Shock of

and accepting to meanings inferred by

The Familiar”, Olivia appears to depict

her audience when digesting. “Art is a

the young British every-day life. The

relationship I believe; it’s important to

images consistently live up to the

have a plethora of narratives on the go

title as she takes us through journeys

at once.” For Olivia, Art has a duality

from the bus to the chicken and chip

that is more than what is seen on the

shop (Image titled “give.it.to.them”).

page and that can only be uncovered

“I always make sure I just drop a little

through honesty on both sides. She

signifier in each image, even if it is just

explains to us that for true creation

the title. There is always something

you must be able to “share your truths

esoteric that my mum who isn’t an art

whatever they may be.”

babe can notice and smile at.” Olivia realised her strong desire to pursue an art career in second year of University, it was from then that she began to find her voice and with the finding came the ease of expression. “I want to disrupt homogeneous narratives and I want to document social history as it unfolds. I’ve always been into heritage and looking back has always been too hard. It’s not simple like the way the BBC does that programme “Who Do You Think You Are?” with celebs. But I have got

Website: yesoliviatwist.com

“SHARE YOUR TRUTHS WHATEVER THEY MAY BE.”

101

PARIS WALKER-BARNES

Careful, precise, bold, colourful.And

102

For

Paris,

art

both

about

in a way, they are words that describe

sending a direct message and leaving

Paris, a 21-year-old artist based in

room for personal interpretation. The

Wolverhampton who works to create

interaction of both is significant in

meaning through her art as she navigates

creating something that’s timeless and

the world. Paris strongly identifies as a

important. This also feeds into the

Black, British woman and this identity

celebration of personal heritage and

is evident in her work. It is an avenue

culture for artists of colour. Although

for

and

uncommon, and sometimes even quite

mirroring her culture. “Black culture as a

uncomfortable, the work of young

celebrating

her

heritage

whole has been the main inspiration for

artistes of colour should sometimes

my work. It was when I got to uni that

celebrate, highlight and focus on

I felt that it was even more of a driving

their personal identities – race or

force and I was able to express that

otherwise. Identity (especially how

more freely” While it’s easy to imagine

she chooses to identify) is a major

that most artists identify freely as such,

factor and that’s the message most of

Paris only adopted the label of an artist

her work is trying to pass across to

in 2016. She says of adopting the label

people. It feeds into people reading

“September 2016 was the turning point

their own meanings into her art

where I began to feel comfortable with

based on their personal identities and

defining myself as an artist. For any

deducing the message she conveys

creative getting to the point of accepting

due to her own identity.

that you are one can be quite challenging. For me, although I have always acknowledged my talent in fine art, attaching the label of ‘artist’ to myself was difficult because I used to think that I had to reach this prestige industry standard first. In 2016 I started to explore and produce digital art, I realised that I was capable of a lot more than I thought and in fact I am an artist in my own right”

Social Media: @Paris_miami

105

RAYMOND FIELDING

ome is a 20-year-old artist, whose

artwork

portrays

“Art’s history shows how race and colour often

have a place in what you may feel inspired to create,

array of dystopian characters

whether an artist may feel motivated to protest

and intriguing scenes. When

or just represent any emotions they may have

speaking on where his work

experienced. Contrary to parental belief, education

stems from Rome replied “Most

to not the only route to success; For Rome, it was the

of my work is manifested from

opposite; “My decision of fully pursuing the artist life

spontaneous ideas, if not, then

was made when I realized how stressful going back

abstract alternative concepts from its reference(s).” This

into education sounded.”

astounding artist known as @romeplusart on Instagram, is popular on a lot of social media, i.e. his Tumblr page which shows his artwork and his Instagram which shows his artistic process also. This may have led him to make some impressive accomplishments in his career as an artist. “I'd say my biggest artistic meaningful achievements to date are the current collaborations I’m involved in - TCX, Pree-Me App, Unleashed Models and the 'No One Is Illegal' campaign with Neverfade London” Art is not the easiest process for some however, as it may take a while as a before you know what it is, as an artist, you are trying to depict, “I finally defined myself as an artist late last year, after finishing college - but I'm still learning.” Although art has many distinct definitions around the world, culture is certainly one of the most influential factors that contribute to its concepts. Culture in the creative industry has been an advocate for diversity in all expressive forms of art, giving many young artists space to lay out a symbolic form of themselves in whatever they choose to create and the power to design something original. However, for Rome, he tells us, culture is not the main, or even a key contributor to his art, “I don't really think being born and raised in Britain has had much of an effect on my art, apart from attempting to come up with more original ideas in art classes.”

Social Media: @romeplusart

107

108

We admire artists who post their process and their work space as part of their journey to their final pieces. The documentation of the process allows us an insight into the artist’s inspirations. Rome tells us there are many behind his art work; “I’d say my lifestyle is a big part of my inspiration. From the music I listen to, the movies I watch and the items in the junk shop that I visit. I don't really choose to label my work. Most of the time I don't choose what I'd like to draw, unless it’s a commission piece. I'd prefer viewers had their own observational option.” It is a great career move when you are one with those who want to know more about you and your artistic mind; almost like you’re telling them a story. Raymond definitely one to watch in the coming years, and we’re excited to see what more dystopian pieces Raymond has to offer.

109

RANDY ‘RYA’ AMOAKOHENE

Meet Randy Amoakohene, aka Rya – the 27-year-old

political issues. However his greatest inspiration stems

UK based creative who creates “conceptual, narrative

from his childhood: “With this I create beautiful

and figurative artwork with a diverse colour palette.”

worlds.” Rya explains the importance for young artists

Initially using art as a “random” source of outlet, the

of colour to celebrate their race through their work:

Illustration and Graphics graduate was on the fence

“We have stories that need to be told by us, from our

with his art for a long time, waiting to be discovered,

perspectives. I see a lot of it going on now which is

until he decided to put himself out there through his

good because there was once a time when people were

solo exhibition. His final year of university at Coventry

ashamed of their skin.”

three years ago led him to realise how seriously he

110

could pursue his talent. “During this time we were pushed to enter competitions and through this I got good feedback and shortlisted for a few. This is when I started to notice that my work resonated with people outside of my circle, the people that ‘had’ to like my work.” Subject matter and the use of colour are what define Rya’s art as distinctly his, although he prefers not to label his body of work, letting his art speak for itself. “I just draw what comes to mind and how I feel. The first piece [of art] I remember was a very decorative sword, they used to have swirls, wings and jagged edges. Something that couldn’t exist in reality because they had tiny hilts in comparison to the blade.” “I prefer that my viewers draw their own conclusions, it’s more interesting that way and gives them their own personal connection to the work” he told us. Although clues of his identity are included in all of his work in the form of Ghanaian history, Rya acknowledges that “inspiration is everywhere”, with his latest body of work inspired by current affairs and

Social Media: @Ryadraws

“I PREFER THAT MY VIEWERS DRAW THEIR OWN CONCLUSIONS, IT’S MORE INTERESTING THAT WAY AND GIVES THEM THEIR OWN PERSONAL CONNECTION TO THE WORK”

113

114

SAFFA KHAN

ue to the nature of

became a crucial part of my practice

her work being very

once I started to feel less frightened

autobiographical

and

and more accepting of who I am.” Saffa

22-year-

incorporates a lot of women of colour

documental, old

Saffa

Khan’s

art

in her work in attempt to address the

narrates the constant

issues faced in a narrative form, whether

exploration of her own identity. “My

it is to depict struggles with sexuality,

work evolves as I do - not just as an

faith or mental health.

artist, but also as a human being, a

Being a Jack of many trades, Saffa

migrant who’s struggling with mental

is also an amateur film photographer

health and still trying to understand the

and an aspiring print maker as well

in-between.” The vibrant and primary

as being a captivating illustrator. In

colour palette is a feature of her work

addition to her already impressive skill

that is long-standing and has been

set, she curates ‘Poor Pals Club’; events

very consistent; a feature which she

by & for “skint northern artists, writers,

attributes to her South Asian heritage.

musicians & film makers.” Although

Being born and raised in Pakistan, Saffa

being talented and accomplished in

is heavily inspired by art of her culture.

many-a-field, when asked her biggest

“I take influences from the beautiful

accomplishment to date Saffa replied,

narratives of Mughal paintings, Henri

“I showed my mother some pieces from

Matisse’s line work, Marjane Satrapi’s

a commission and she told me that she

autobiography, Shirin Neshat’s courage

was very proud of me. I have never

and my mother’s attention to detail.”

heard her say that to me before.”

In her years spent at Manchester School of Art as an illustration student, Saffa developed a sense of community and

belonging

that

had

initially

proved difficult after migrating from Pakistan

England.

Through

her

art she creates a means of therapy that allows her to meditate in the inbetweens of her somewhat conflicting identities as a queer, Muslim, female artist.“ Documenting my own struggles and understanding my own identity

Website: safka.co.uk

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SARA GULAMALI

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It was while undergoing her A-levels at St Augustine’s

wasn’t until she started her degree at Central Saint

Priory, London, that rising star and student of art

Martins, that she noticed the pressure she was putting

Sara Gulamali first moved into political themes with

on herself to fit in. “I decided that I needed to push

her work. She created a large piece dedicated to the

myself out of my comfort zone and not be afraid to

Women of Palestine. “I refused to restrict myself, I

talk about these real POC problems, even if I’m only

just allowed myself to be an artist and create whatever

surrounded by people who may not understand them.

interested me. It made my education experience

That’s when there was a sudden shift in the meanings

far more liberating.” Raised in a multicultural house

behind my work”.

hold, Sara recalls feeling a lot of pressure from her

Ever since the moment of self-discovery, Sara’s

father about what to study at university. “He was

very bold and very political art has never looked back.

worried about what studying Fine Art as a degree

Her instagram is filled with pieces that put a microscope

would mean for my future. It wasn’t until I pushed

on the detrimental and stereotypical ways in which

myself to apply that I connected with people who

Muslim women are treated and perceived. “The people

showed me that there were people who followed this

and communities I’ve discovered on that platform have

career path and were successful.”

undoubtedly inspired my work and empowered me to

“I hate this misconception that women of faith,

talk about my culture and religion in a way I never felt

and most notably Muslim women, are needed to be

comfortable doing. Also, being featured in magazines

spoken on behalf of. Treated like children, as if we

like this show me my work is starting to move out of

don’t know what’s good for us and therefore we need

the studio and move into the real world for people to

other people to tell us what we do and do not want”,

see and notice.”

20-year-old Sara boldly states in a tumblr post entitled “My argument on Empowerment”. Her beliefs regarding identity, belonging, race and religion are show great influence towards her creations and both her British and Muslim identity have their role to play in defining her work. “It’s not just about being brown or Muslim, it’s about being British, brown and Muslim. I’ve lived here my whole life, yet still managed to keep in touch with my faith and parts of my culture, and it’s that balancing act of maintaining your morals in the West which is prevalent in my work.” During her foundation year, Sara found herself over compensating for her differences. “Wearing a turban instead of a hijab to look less ‘ethnic’, avoiding making any art that seemed too cultural with fear of seeming like my culture and religion was all I had to show.” It

Social Media: bookybrowngirl.tumblr.com

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