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
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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
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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
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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
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CHARLOTTE EDEY harlotte’s
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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.”
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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.”
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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
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HANNAH EKUA BUCKMAN
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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
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" BEFORE, I THOUGHT I WAS USING ART AS A SORT OF CRY FOR HELP WITH PANGS 36 OF CATHARSIS. HOWEVER, I’M BECOMING MORE ACCEPTING OF MY ORDINARINESS."
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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
or
fashion “as cliché as it may be love is my inspiration, so I think my meaning
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ISRAEL KUJORE
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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
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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
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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.
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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
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Karis
Jeremy
used
Grime
Corbyn
in
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
to
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
as
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
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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
my
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;
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“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.”
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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
of
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
In
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
he
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
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“ T he more I discover, the more I create.�
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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
“ I love imperfectly perfect interpretations of people and items.�
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LAYLAH AMARCHIH
I
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
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[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.”
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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.”
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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
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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
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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.”
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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
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OJIMA ABALAKA
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“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
A
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
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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.”
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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
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“SHARE YOUR TRUTHS WHATEVER THEY MAY BE.”
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PARIS WALKER-BARNES
Careful, precise, bold, colourful.And
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For
Paris,
art
is
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
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RAYMOND FIELDING
ome is a 20-year-old artist, whose
artwork
portrays
“Art’s history shows how race and colour often
an
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
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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.
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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
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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”
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SAFFA KHAN
D
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
to
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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