My practice looks to empower often marginalised minorities through the exploration of identity within portraiture. Confronting socio-political issues within my drawings can act as a catalyst for a discourse regarding the perception of various demographics as being of lesser humanistic value. Specifically, with the disenfranchised often being undermined by mainstream media; somewhat paradoxically reflecting an archaic hierarchy of status similar to colonial ideologies.
Using antique texts and maps as the canvases for my works enables me to pragmatically re-contextualise ephemera, creating a cohesion between the concepts informing the work and the aesthetic output. As I empower various figures; I simultaneously do so with the ground used, presenting them within new contexts. Placing myself or family members as the subjects of my portraits evokes a sense of immediacy, apropos to navigating the intersection of my western upbringing and familial west African culture.
Informed by my Sierra Leonean and Lebanese heritage, I am conscious of representing figures that have historically been conspicuously omitted from traditional British portraiture. I call upon anecdotal references to portray scenes that are occasionally quasi surrealist representations; confronting lingering ethnocentrisms that are still embedded within modern western society.
I employ delicate mark making techniques with precise strokes of the everyday ballpoint pen. This process is influenced by sketches from the high renaissance. I meticulously build layers of tonality leading to an element of photorealism. Through an almost contradictory process of using this relatively modern art medium with a classical approach to mark making: I look to celebrate authentic drawing within the digital age.
Depicting motifs contrary to largely accepted revisionist narratives apropos to West African histories is at the core of my practice. The portraits investigate the absurdity of how identity can be constructed by historical oppression, with semblances of antiquated ideologies at the root of nuanced prejudices that I have personally experienced. Ultimately, my work looks to embolden individuals that feel as though they have been labelled as the ‘other’ in any manifestation.
In MArch 2022 I was elected as a member of the Royal Society of British Artists.
March 2022, The De Laszlo Foundation Prize - Highly Commended - Royal Society of British Artists
July 2021, Young Artist Award - winner - Society of Graphic Fine Art
May 2021, The Anthony J Lester Art Critic Award - Highly Commended - Royal Institute of Painters in Watercolour
April 2021, The De Laszlo Foundation Prize - Highly Commended - Royal Society of British Artists
December 2020, NG Art Residency Prize - winner - Wells Art Contemporary
February 2020, National Lottery: Project Grants – Grant Winner– Arts Council
February 2020, Signature Art Prize: Drawing & Printmaking – Winner – Degree Art
January 2020, Embracing Our Differences Exhibit 2020 – Best in Show – Embracing Our Differences Org
November 2019, Discerning Eye Drawing Bursary 2019 – Runner up – Parker Harris
October 2019, Draw ‘19 – Under 30s Prize Winner- The Society of Graphic Fine Art
July 2019, Artists Collecting Society Studio Prize 2019 – finalist – Artist’s Collecting Society
January 2019, Developing Your Creative Practice Grant – Grant winner – Arts Council England
March 2018, Bloomberg New Contemporaries – class of 2018 – New Contemporaries
May 2016, Jorge Aguilar-Agon Student Artist Award – winner - Fine Art Trade Guild