Raphael: Tell us about yourself, your practice, and journey as an artist. How has being based in the UK informed your work and shaped your artistic vision and perspective?

Maya:My name is Maya Simms, and I am an artist based in East London. I graduated from Slade School of Fine Art in 2023 and studied at the Royal Drawing School in 2021/2022.

I am currently working independently. I aim to examine the multidimensional nature of painting, exploring its character in different traditional and non-traditional formats. Having both English and Jamaican heritage and growing up in London fostered a constant search for ways to understand and tackle the layered emotions of the histories that permeate a culture built from prejudices, protests, and pioneers. I try to navigate this wider context through my work, as well as my own personal history.

Raphael: Black History Month UK is a month dedicated to showcasing the achievements and contributions of the UK’s black community. In the realms of art and creativity, black people have long been pioneers and trailblazers. Who are some Black British creatives that have inspired your journey so far?

Maya: Sonia Boyce, Donald Rodney, Benjamin Zephaniah, Claudette Johnson, Simon Webbe, Joan Armatrading, Steve McQueen, Hew Locke, Barbara Walker are a few of the creatives who have inspired me. The whole BLK Art Movement of the 1980s is full of brilliance, collaboration, companionship, and resilience, which has contributed to the opportunities young black artists and British artists of the global majority can draw inspiration from.

Raphael: After many years occupying the fringes of the British art market, artists of black heritage are increasingly gaining recognition for their work and being offered more opportunities and partnerships. What are your thoughts on the state of the British art ecosystem and landscape as it pertains to equity, equality, and inclusion?

Maya: I am really excited about the progress being made to work towards a more equal British art market, especially as an emerging artist. However, I feel there is still work to be done to truly reach a place where the British art ecosystem is inclusive and equal.

Black artists are still being boxed into a corner, where only a select few are pushed. As a Black artist, there is no room for mediocrity—you must shine brighter than bright to even have a chance of being recognized, to have a foot in the room, and to have your work appreciated and seen. We must continue to claim space and make those spaces feel safe and reflective of our society.

Raphael: The UK is known globally for its rich cultural heritage and art institutions. Which museums or major galleries would be a dream for you to show at, and why?

Maya: Mariane Ibrahim, David Zwiener, Gagosian, PM/AM, The Approach, Southbank Centre, Serpentine. It would be an honour to have the opportunity to show work in these galleries.

Raphael: On a global scale, Black British artists have built a reputation for exceptionalism, led by the likes of Lynette Yiadom-Boakye, Chris Ofili, and Sonia Boyce, to name just a few. What do you think it is about the UK that fosters this culture of brilliance among its artists?

Maya: There is no argument that the UK has some of the best schools of art and galleries which generate amazing talent. However, I am unsure that the UK really ‘fosters’ a culture of brilliance. Rather, it is the individuals who are determined to harness their experience of growing up or living in the UK, which nourishes their work.

The brilliance of artists in groups like the BLK Group was in the individual’s own talent and the collective effort to notice the gaps in opportunities for black artists and build a community where work would be seen and appreciated. The continual drive to learn, practice, refine their craft, and ensure they are seen.

Raphael: What have been some of the most memorable exhibitions showcasing Black British artists you have visited in the UK, and why did they leave such an impression on you?

Maya: ‘In The Black Fantastic’ – Southbank Centre, ‘Life Between Islands’ – Tate, Jennifer Packer: ‘The Eye is Not Satisfied with Seeing’ – Serpentine, ‘James Barnor: Accra/London – A Retrospective’ – Serpentine, ‘Entangled Pasts’ – RA.

Raphael: Tell us about your favourite show you have been a part of to date, and what made it so special?

Maya: I am still emerging as an artist and have not currently been in an exhibition. However, I will be in a group exhibition at the end of October! I look forward to continuing to gain opportunities to show my work.

Raphael: Who are your top three Black British artists, living or late, and why?

Maya: Lubaina Himid – A pioneer of the Black Arts Movement. Her sculptural work of cut-out characters really inspired me to explore wood sculpture. It was so striking walking among multiple cutouts of characters in the ‘Entangled Pasts’ exhibition.
Lynette Yiadom-Boakye – An inspiring creative. I love her expressive style of painting; each brush stroke holds life. Denzil Forrester – Pure soul, rhythm, and music. His work feels like a memory of my childhood, of music and dance.

Raphael: What can we expect from you going into 2025? Are there any opportunities, news, or shows coming up that you would like to share?

Maya: I will be in an upcoming group exhibition by RROWM at Copeland Gallery, ‘How Do We Reconcile’ from 25th–27th October. You will be able to see my most recent work, ‘The Moon’s Net,’ in person, alongside the work of talented Black artists.

Raphael: Any final words, shout-outs, or cheeky plugs you’d like to give?

Maya: Thank you, Art Plugged, for featuring me in the Black History Month Q&A! Please follow my Instagram for updates on what I am up to, @msimmsofficial, as well as my website: mayasimms.com.

©2024 Maya Simms

Raphael Dapaah

Raphael Dapaah is an independent art curator and writer.  He specialises in promoting and consulting on contemporary African art, and is currently based between Ghana and the UK.

Music, fashion, film and tv, have all made considerable inroads in capturing the dynamism, energy, rawness and diversity of London’s inner city youth culture. But until recently, the fine arts space left a lot to be desired when it came to the depiction of this unique lived experience; that was until the award winning, visual artist representing South London, Brianna Lois Parker, picked up a paint brush…

Raphael: This conversation is long overdue. Since I first came across your work in 2021, your practice has come on leaps and bounds. Before we address that however, let’s start from the beginning. When was the moment you first realised you were an artist, and how would you describe the journey to date?

Brianna Lois Parker: After nearly dropping out of Uni during my first year and working from my bedroom for the entirety of the last, it was at that moment I realised I was an artist. My passion for art and my practice carried me through the course, and despite the many obstacles I faced, I graduated with a First Class BA (hons) in Fine Art.

Raphael: There have been many British artists who have depicted ideas of identity, belonging and culture in their work over the years. But to my knowledge, none have so vividly and distinctly captured the inner city black London experience and youth culture of the past decade as you have. What was your childhood and upbringing like, and how has your background informed your practice today?

Brianna Lois Parker: I have lived in a multicultural urban environment my entire life, which has profoundly influenced my work. Representing identity, community, and the Black British experience is extremely important to me. I was born to a midwife and a postman, their long overlapping work hours resulted in my older cousin looking after me during the summer holidays. I distinctly remember countless hours spent at Deptford adventure playground (a youth club). It was here that I believe my love for creating developed.

Raphael: From films like Blue Story, to critically acclaimed TV series such as Top Boy, and of course music and fashion with artists like Little Simz, Central Cee and Dave becoming global stars, not to mention brands such as Wales Bonner also achieving international recognition, do you think we are on the cusps of a Black British cultural renaissance, and if so, why?

Brianna Lois Parker: Most definitely! It is exciting to witness and I’m honoured to be a part of it. The dynamic interplay across film, music, and fashion enriches this vibrant cultural renaissance. Increasing support from platforms and institutions is enhancing visibility and opportunities for Black British creatives.

Raphael: Speaking of Top Boy, it would be remiss not to mention that you were chosen to create a piece to be shown at the ‘Portrait of a Top Boy’ exhibition at Somerset House, which was then later exhibited at the National Portrait Gallery. How did this collaboration come about, and how has it impacted you?

Brianna Lois Parker: It all started with a DM from a lovely lady from Intermission Film. The Top Boy experience has impacted me massively! I was fortunate enough to connect with various individuals that, much like myself, love the critically acclaimed show and have an even stronger love for the art work.

Till this day I am so proud of what I produced. Completing a painting, to that standard, within 2 weeks was a new personal record (it typically takes 4-6 weeks). During that period I was painting from 8am to 10pm daily, running on nothing but coffee and vibes. I would do it all again in a heartbeat! I am so grateful to have painted the character Stefan. I was able to draw out a lot of symbolism relating to aspects of the show and real world issues, such as the adultification of Black boys within our society.

Raphael: On the topic of accolades and achievements, congratulations on winning the 2023 Margate Art Prize. How did you feel being chosen in such a competitive field of both emerging and established artists, and especially being selected by the iconic Young British Artists (YBAs) alumna, Tracey Emin?

Brianna Lois Parker: It was a massive achievement! It meant everything to be selected by the world renowned Tracey Emin. I have been a huge fan of her since I discovered her work during my A Levels. It was surreal to be chosen as a winner by an artist whose work, 7 years prior, I was recreating for my own studies.

Raphael: Any words of encouragement or advice from Tracey Emin on how to continue
to navigate your career and build from here on out?

Brianna Lois Parker: We are yet to meet but I am looking forward to doing so and hopefully gaining some knowledge from what I would refer to as as a British icon.

Raphael: On to some trivia questions. Who are your top three favourite living artists, and why?

Brianna Lois Parker:

Lynette Yiadom-Boakye: Her ability to create subjects from her imagination.
Barbara Walker: Her exploration of documentation and erasure.
Jordan Casteel: The way she connects with her community and how it fuels the work
she produces.

Raphael: Who are your top three favourite late artists, and why?

Brianna Lois Parker:

Barkley L Hendricks: His contribution to Black portraiture and representation.
Hieronymous Bosch: The chaos of “The Garden of Earthly Delights”.
Frida Kahlo: Because she said “They thought I was a Surrealist, but I
wasn’t. I never painted dreams. I painted my own reality”.

Raphael: What is next for you, and what shows can we expect you to be a part
of in 2024.

Brianna Lois Parker: I am very excited for this upcoming year! I am fortunate enough to be a part of the curator, Ronan McKenzie’s exhibition titled “What I Thought I Knew”. Might I add, McKenzie is one of the most genuine and kind people I’ve met in the art world. The show opens officially on 13th June running until 30th August. I also have another exhibition coming up in September 2024, so stay tuned.

Raphael: Any final words, shout outs or cheeky plugs you want to mention before you go?

Brianna Lois Parker: Mi Insta! @briannaloisparker. Add it up! Like mi posts! And join me on this artistic journey!

©2024 Brianna Lois Parker

Raphael Dapaah

Raphael Dapaah is an independent art curator and writer.  He specialises in promoting and consulting on contemporary African art, and is currently based between Ghana and the UK.

Ahead of his debut group exhibition, Creating Beyond Sickle Cell, curated by Akanji Studio to offer a platform for a collective of creatives with sickle cell disorder to showcase their artistry, I caught up with the AI artivist to learn more about the purpose behind his movement.

Raphael: Having recently come to learn about Akanji Studio, and the moving story behind it, I am very keen to hear more about how it all came about. What inspired your artistic journey?

Rizzy: My artistic journey is deeply inspired by both my personal experiences living with sickle cell disease and the broader narratives within the sickle cell community. This defining aspect of my life has shaped my digital art practice from the very beginning, infusing each piece with personal battles and the collective stories of resilience and struggle from the community. In my creative journey, I also fuse Afro-futurism and Afro-surrealism to envision a future where African voices resonate globally.

Drawing from my Yoruba heritage and ancestral wisdom, I infuse storytelling and poetry to shape immersive worlds and narratives. Utilising modern digital tools like machine learning, I amplify the voices of underrepresented communities, weaving their stories into the fabric of tomorrow. Through digital art and poetry, I have found powerful mediums to express the nuances of these experiences and emotions. Each artwork reflects not only my own resilience and hope but also the collective strength and challenges of the sickle cell community.

My digital canvases and poetic verses serve as platforms for storytelling, advocacy, and community-building. This fusion of technology, creativity, and shared experience allows me to transcend physical limitations, connect with audiences globally, and foster deeper empathy and understanding. Ultimately, my artistic expression is fuelled by a mission to raise awareness, inspire change, and spark meaningful conversations that resonate with and represent the sickle cell community at large.

Raphael: How would you describe your art practice, and what do you think the future of AI, tech and art holds?

Rizzy: My art practice is a dynamic blend of traditional digital graphic skills and innovative AI technologies. I engage deeply with each piece, using my expertise in illustration, Photoshop, and Adobe Lightroom to curate and enhance AI-generated images. This process ensures that my personal touch and creative vision are imprinted on every artwork, distinguishing my pieces from purely AI-generated art. The use of AI technology has significantly expanded my creative capabilities, allowing me to explore new forms of expression and bring intricate visions to life.

Collaborating with AI is an empowering experience; it combines the precision and efficiency of technology with the nuanced insight of human creativity. This partnership is not just about using tools, but about engaging with them in a way that respects ethical considerations, ensuring that my artistic processes contribute positively to the broader discourse on technology and creativity. Looking forward, I believe the intersection of AI, technology, and art holds tremendous potential.

We are just scratching the surface of what’s possible when human creativity collaborates with robotic precision. As we continue to explore these realms, I anticipate more beautiful and ethically minded collaborations between artists and AI, further enriching our cultural landscapes and expanding the boundaries of traditional art practices.

Raphael: AI has proven to be a very topical subject. Some argue it is a potential force for good, others are concerned about its potential to replace humans altogether. How would you respond to your critics who suggest that AI or digital art isn’t real art?

Rizzy: In addressing the critique that AI or digital art isn’t “real” art, it’s crucial to reflect on the core definition of art itself: it’s the expression or application of human creative skill and imagination, typically appreciated for its beauty or emotional power. In my practice, I integrate AI as a tool to extend my creative capabilities, not to replace them. I actively engage in curating and enhancing AI-generated images using my digital graphic skills, such as illustration, Photoshop, and Adobe Lightroom, ensuring each piece is imbued with my personal touch and vision.

The impact of my artwork on the community, especially those affected by sickle cell, emphasises the profound emotional and social influence of digital art. My works foster connection, raise awareness, and offer emotional resonance, thus validating their authenticity and importance as art. Through blending technology and human creativity, my art practice not only adheres to traditional art definitions but also expands them, demonstrating that art created with AI can evoke deep emotional responses and inspire change, just as conventional art does.

Raphael: For those unfamiliar with sickle cell disorder and its implications, can you please share what it is like living with sickle cell, and what do you hope your exhibition will achieve for you and your fellow artists?

Rizzy: Living with sickle cell has been a journey of both resilience and challenges. Each day brings its own set of hurdles, from managing pain crises to navigating healthcare systems. Through my art, I aim to shed light on these experiences, offering a glimpse into the reality of life with sickle cell. My exhibition serves as a platform to amplify the voices of not just myself, but also fellow artists who share similar journeys.

By showcasing our creations, I hope to heighten awareness and understanding of the complexities of sickle cell disease. Moreover, I want individuals living with sickle cell to feel seen, loved, and heard—to know that their stories matter and that they are not alone in their struggles. Ultimately, I envision this exhibition as a catalyst for empathy, sparking conversations and fostering greater compassion towards those affected by sickle cell.

Raphael: What more can we expect in future from you and your artists, and how can we support your movement to drive sickle cell awareness?

Rizzy: In the future, you can anticipate our continued efforts to amplify sickle cell awareness through art. We aim to expand collaborations with institutions, fostering greater support and understanding for the sickle cell community. Expect more exhibitions, projects, and initiatives delving into the multifaceted experiences of individuals with sickle cell. To support our movement, engage with our exhibitions, share our stories, and advocate for increased resources and awareness. Together, we can drive meaningful change and create a more inclusive society for those impacted by sickle cell.

Akanji Studio, Creating Beyond Sickle Cell was on view May 3 – 5 2024. Stay updated with Akanji Studio’s future artworks and projects by visiting their website here and on instagram

©2024 Rizzy Akanji, Akanji Studio

Raphael Dapaah

Raphael Dapaah is an independent art curator and writer.  He specialises in promoting and consulting on contemporary African art, and is currently based between Ghana and the UK.

But it wasn’t just the perfect harmony between the afro beats and the R&B fusion that left us entranced. The stunning video itself was beddecked by stunning artworks by three visual artists, most prominently featured was Igbo vernacular and Lagos based artist, REWA.

Following the huge buzz and excitement surrounding her work being selected to feature in this watershed moment, I had the pleasure of having an exclusive conversation with the artist to hear her thoughts, and learn more about what to expect from her this year.

Raphael: We first have to address the huge elephant in the room. How does it feel to have your work featured in an Usher music video ahead of the Super Bowl halftime show, and what does it mean for you as a visual artist?

REWA: There aren’t enough positive adjectives in the world to describe the feeling; but a recurring one would be surreal. I’ve been on such a high since the “Ruin” video premiered on the 2nd of February. I am a self-taught artist and have been snubbed in the past by participants in the art world on account of this. Also, I began my art career while still working in the corporate world, in my late 20’s. These two items combined have meant that sometimes, I’ve felt like the ugly duckling in a room full of MFA-toting, blue chip- represented swans.

This Usher feature has changed all that for me. I feel like if Dave Meyers, Nathan Scherrer, Daniel Lane and Usher felt that not just one, but five of my works were good enough to feature in the video of a GRAMMY award-winning, multi-platinum, global superstar’s video – especially ahead of his highly anticipated performance at the Super Bowl LVIII – then I am good enough. It is the validation I needed. It is an impetus for me to keep going, to keep improving my craft. Needless to say, Usher is now my top artist and Ruin is my favourite song of all time!

Raphael: This isn’t the first time your work has been featured outside the traditional confines of a gallery wall or art fair booth. Your work was also featured in an Oprah Network show, “Single Ladies’’. What are your thoughts on artists exploring non-conventional platforms and media to showcase their practice?

REWA: Yes, it was also featured in NBC’s Law & Order and ABC’s Black-ish. I’m a non-conventional artist so if you throw an off-the-beaten path opportunity my way, then I’ll be your first taker. In this modern day of the multi-hyphenate and connectivity of things, I believe we have to defenestrate limitations on how we think artists should navigate their careers. I’m a testament to that.

With all that said, I’m immensely grateful for these features because it’s widened my audience base and led to new opportunities to show my work. As a Nigerian artist, it has always been my mission to export our beautiful culture and heritage. Such opportunities and features help me to do just that so I embrace them with open arms.

Raphael: You live and work in Lagos, Nigeria, and your work has travelled internationally, especially in the US, where you have shown in culturally rich cities such as Los Angeles, New York, Miami and New Orleans. Are there any cities or countries that your work hasn’t yet been exhibited in that you’d love to explore?

REWA: Absolutely! China, Japan and South Korea to begin. I think that my figurative work, accentuated with ink, would resonate well in that geography. Shifting continents, Brazil is another. When I think of the country, I think of vivacity and vibrancy; again, I think that these are also features of my work that would resonate in that region. Finally, on my home continent, I would love to have an increased presence here. I have lived in Botswana, South Africa and Zimbabwe and would love to return home. Africa is such a culturally diverse continent. The soft power of art can be used to further diplomacy and cultural education, within and amongst ourselves. We already do it with our music and films so it is time visual arts continue to make increasing headway.

Raphael: Your work is now in several private collections, especially that of women art patrons, such as CCH Pounder & Beth Rudin DeWoody. If you had to describe your ideal collector in 3 words, what would they be?

REWA: Long-term, invested and curious. As I advance in my career, I have less interest in collectors who only wish to patronise my work because I’m the flavour of the month. I’m trying to move away from the transactional. Rather, I prefer to engage with collectors who take an avid interest in my practice, love my work and plan on retaining for the long term. I have made many life-long friends of some of my collectors and they are interested in seeing me thrive and on my part, I work extra hard to ensure that their investment in me comes to significant avail.

Raphael: You were recently acknowledged by NBC Washington as one of 33 women blazing a trail in Africa as a leader. What does leadership and success as a woman in art look like to you, and do you feel that women artists are finally receiving their due representation and flowers in the art market yet?

REWA: You know, it’s so incredible to me that people notice the work that I do, whether in the art world or the finance world.

Honestly, I’m still trying to define what success looks like to me. Once I hit one milestone, I’m immediately onto the next. As we say in Nigeria, my eyes are too big! My overarching goal though, would be for my work to be used for educational purposes when learning about the Igbo tribe of Nigeria and our wider customs as a whole. I want to become a point of reference.

I think that women are increasingly getting their dues, but we still have a long way to go. Look at the statistics, by Artnet, in the US, only 11% of acquisitions and 14.9 percent of exhibitions, at 31 US museums between 2008 and 2020, were of work by female-identifying artists. Drill down again, art by women accounts for around 3.3 percent of all auction sales between 2008 and mid-2022, or $6.2 billion, out of a total $187 billion. Drill down further yet and you find that there is very little racial diversity. Seventeen of the top 20 women artists are white (the other three artists are Yayoi Kusama, Julie Mehretu, and Frida Kahlo). With so many baddies like myself out there, these statistics are atrocious and need to change.

Raphael: February marks black history month in the US, a time for reflection, celebration and honouring those who have come before us and paved a way. Looking at the modern and contemporary art market, and the strides artists of African heritage have made today, which artists, if any, have inspired your journey and have helped pave the way ahead for you?

REWA: This is a bit of a tough one for me to answer. As I mentioned earlier, I came into this career “late” and I am also self-taught. Even though my dad is a collector of West African art, I didn’t follow the career of other artists and I wasn’t fully aware of the key players in the space. In this sense, I have carved my own path. When I am denied an opportunity, just like water, I simply divert and find an alternative route for myself. I can’t say I’ve ever tried to chart the course of another artist’s journey.

However, it’d be remiss of me to not acknowledge my absolute love and admiration for some of my fellow Nigerian women artists who are absolutely killing it and blazing a trail; Toyin Ojih Odutola, Njideka Akunyili Crosby, and Ndidi Emefiele. I’m such a fan girl to these three ladies.

Raphael: 2024 is now underway and the art calendar and market has officially opened this month. What can we expect from REWA in 2024, and how would you say your practice has evolved since 2023?

REWA: This Igbo woman here has been climbing ladders – literally and figuratively! The size and scope of my work has expanded massively; I use each of these words very deliberately. I challenged myself to migrate to very large-scale works and so far, it’s been an incredible journey. The vast expanse of canvas gives me ample space to tell my stories better.

Also, my practice is now more holistic. I am now marrying other sensory elements with my art to enable me to communicate my narratives more effectively.

What you can expect from REWA in 2024 is my first, travelling institutional exhibition. This exhibition will highlight the women of the prestigious otu odu Society of Igboland. The society is a bastion of Igbo culture and tradition, preserving and promoting communal well-being and cultural identity. The viewer will have an immersive and experiential journey of an initiate undergoing the initiation ceremony. It will be a sensory experience incorporating the visual, tactile and aural.

This is my most personal and ambitious body of work to date. Beginning at the iconic National Theatre in Lagos, Nigeria and moving onwards to The Africa Centre in London and finally ending in the U.S.

Raphael: Before we let you go, any final remarks, news you’d like to share, people or collectors you’d like to give a shout out to?

REWA: There are too many to thank, too many. I have the most incredible support network in the world; from my parents, to my siblings and to my friends. My son, for being my raison d’etre.

But to hone it into our subject matter, Jonathan and Matthew of Ferrara Showman Gallery who have been with me since my artistic birth in 2016/17. They also bring me back to my spirit home, New Orleans, time and again. Sorella Acosta of Out Of Africa Gallery for giving me a platform in Europe. The team at Band of Vices in LA for taking me from Nollywood to Hollywood, and Anna Arnell for putting me in front of Dave Meyers and the team.

My collectors and patrons, far too many to name but I speak with them so frequently that they know who they are, particularly one incredible fashionista in New York.

There is an Igbo proverb that says, onye kwe chi ya ekwe. Which means that when one takes a bold step towards the realization of a dream before expecting their chi to intercede and further them. So finally then, I thank my chi, for walking ahead of me and illuminating my path.

This was Raphael Dapaah In Conversation with REWA

©2023 REWA

Raphael Dapaah

Raphael Dapaah is an independent art curator and writer.  He specialises in promoting and consulting on contemporary African art, and is currently based between Ghana and the UK.

Joshua Donkor is one of the most promising young British artists to emerge on the contemporary art scene. Since graduating from art school in 2020, the young artist has been tipped as an art graduate to closely watch, affirmed by his feature as one of Sky’s portrait artists of the year, and also becoming ‘The Next Big Thing’ portrait winner.

Raised in the UK of British and Ghanaian heritage, Joshua’s work explores the notion of identity, belonging and the complex narratives that surround these themes.

The Ancestral Foundations series really stemmed from some of W. E. B. Du Bois’s writing and my 3^rd year project “Generational memories”. These influences got me thinking about the concept of identity and duality

Joshua Donkor

Raphael: This is a conversation I have been itching to have for a while now, especially after coming across your work at the ‘Awakening’ group exhibition curated by Chilli Art Projects, and being bowled over by your portraits. For the benefit of our readers who are yet to discover who you are, tell us a bit about yourself.

Q: When would you say your journey as an artist began in earnest, and how would you describe it so far?

Joshua: I only graduated from Cardiff School of Art and Design in 2020, so I’d say this has been my first year as an artist really. I was incredibly fortunate to receive The Artist Benevolent Fellowship after graduating. The Fellowship has offered me funding and support for this first year of my career. This gave me a stable platform to just keep on making and putting out work.

Raphael: One of your series of works that really caught my attention and impressed me was ‘Ancestral Foundations’ which I found incredibly intimate and personal, yet very familiar and relatable, given that we both share Ghanaian heritage, and have been raised in the UK.

Q: What was the inspiration behind this stunning series of work, and the process you underwent to capture your muses, and did you learn or uncover anything about yourself whilst creating these pieces?

Joshua: The Ancestral Foundations series really stemmed from some of W. E. B. Du Bois’s writing and my 3^rd year project “Generational memories”. These influences got me thinking about the concept of identity and duality and how these themes impact other members of the African Diaspora. From there I began a series of conversations with friends, family and even some relative strangers about balancing different African cultures and heritage in their lives in the UK. These conversations would later inform each portrait in the series.

Raphael: Black History Month has recently passed, and there was an increased spotlight on emerging black British artists, especially those to keep an eye out for and follow closely. I know you have been hotly tipped as a British art graduate to watch, as well as being featured as a sky portrait artist in 2020.

Q. How do you feel about the growing awareness that black British artists are getting, and what more do you believe should be done to further push and promote the undiscovered talent that the UK art industry has failed to support, especially from underserved communities?

Joshua: In truth I’ve found the recent spotlight on black artists somewhat conflicting. A greater amount of opportunity for black artists is certainly something that is and has been needed and there has undoubtedly been a huge rise in the amount of artists finding opportunities and success recently.

Personally I feel that I have also benefited greatly from this, especially as an emerging artist.  Although it feels very frustrating that it seems to require such traumatising events to trigger this. I think the most important thing is that this spotlight does not fade or become just another trend. These opportunities need to be maintained and normalized.

Raphael: You might recall that during the height of the pandemic, after the murder of George Floyd, there were increased calls to get rid of heritage and cultural monuments with ties to the transatlantic slave trade, as well as lively debates around decolonising the Government’s art collection.

Q: As an artist of dual West-African and British heritage, do you believe that the UK can ever reconcile its colonial past by investing in diversifying its arts and cultural landscape and embracing a multicultural modern society?

Joshua: I feel that the only way to ever really begin to achieve this is through acknowledgement of Britain’s Colonialist past and the damage it has caused. I think education is essential to this. I felt that the curriculum was sorely lacking in terms of these aspects of British history when I was at school and I know many of the people I have spoken with feel the same. However there are some really amazing organisations looking to fix this such as The Black Curriculum which I’d advise anyone who hasn’t heard of them to look into.

Raphael: Social media has in recent years played an important role in connecting artists with collectors, curators and gallerists. Even more so during the pandemic, it proved to be the saving grace of the global art market at large, with virtual shows going from being a novelty to the norm.

Q. What role has social media played in your journey as an artist, and your ability to connect with both a local and international market?

Joshua: Social Media has become a pretty crucial part of my practice, especially Instagram! It just enables a far greater level of global exposure for artwork. Beyond this it is also a great tool for connecting and collaborating with other artists as well which can only improve your practice. Certainly without social media I would not have come across many of the opportunities for competitions and exhibitions that I have been fortunate enough to be involved in.

Raphael: Now we know that contemporary African art has been on the rise in the last decade, and even more so in the last few years. I think it is irrefutable that this demand has been in part stimulated by artists of Ghanaian heritage who have especially been leading the charge.

Q: How do you feel about the rise of Ghanaian artists, and can we expect you to visit your fatherland anytime soon to further explore and develop your artistic practice and career, or perhaps even just to reconnect on a personal level with the land of your forebears?

Joshua: The rise of Ghanaian artists is incredibly exciting, I think that storytelling is pretty synonymous with Ghanaian culture so it’s probably no surprise that it produces so many artists!

I am actually going to be going back next year so will be hoping to connect with a few artists I have been in contact with out there. I am very blessed to have so much family out in Ghana, which has always made going back incredibly special. I am very keen to spend time living there in the future, maintaining my connection to Ghana is crucial to me.

Raphael: One of the elements of your work that really captured my imagination was your use of photo transfer images, which to me was reminiscent of the technique used by the iconic Njideka Akunyili Crosby.

Q: What inspired this choice of technique, and on the topic of inspiration and influences, which artists would you say have inspired your practice and journey to date?

A: Njideka Akunyili Crosby has been a huge source of inspiration for me! I first saw her work at the Venetian Biennale a few years ago when I spent a year studying at the Venetian painting Academy thanks to the Erasmus international study scheme. As soon as I saw her work I was totally transfixed. I began experimenting with different transfer techniques as a means of incorporating images from my family photo albums into my paintings. This afforded the work a far greater level of subtlety and acted as an appropriate metaphor for memory given the ghostly impression that acetone transfers can create.

I feel that I have been influenced by so many artists from completely different eras and for completely different reasons. If I were to name a few, I would say Georges de la Tour, Lynette Yiadom Boakye, Kehinde Wiley, Kerry James Marshall and Njideka Akunyili Crosby.

Raphael:

Q. What is next for you as an artist, and what can we expect in future, as far as a new series of work, or any group or solo exhibitions?

Joshua: I am just coming to the end of my Fellowship in Cardiff so will be looking to move into a new studio in Bristol from the start of next year.

I will be looking to continue expanding on and developing the work from the Ancestral Foundations series. I am particularly intrigued by the idea of contrasting individuals’ diasporic experiences who have grown up in other countries across Europe and especially America. I have just begun the interview stage for a few of these next portraits.

In terms of exhibitions, I currently have some pieces on show at The Oriel Davies Gallery in Wales and will hopefully be exhibiting a few pieces fairly soon in Cardiff and around London.

For now though the focus is very much on making new work!

Raphael: One of my greatest motivations as a historian, writer and a curator, but above all else, as an African, is to tell our stories. Before we go, tell us, what is your goal and purpose as an artist.

Q: What are you hoping to accomplish and achieve in this industry and your chosen profession?

Joshua: I feel exactly the same! I often describe my practice as visual storytelling because I feel that that is the purpose of my work. I hope for it to act as a means of sharing individual experiences, memories, histories and cultures. These are essential parts of all our lives and I hope that in sharing this we can all better understand and relate to one another.

https://www.instagram.com/joshuadonkorart/

©2021 Joshua Donkor

Raphael Dapaah

Raphael Dapaah is an independent art curator and writer.  He specialises in promoting and consulting on contemporary African art, and is currently based between Ghana and the UK.

My practice is to balance the often missing visual representation of critical African/Black historical events and narratives that should be given prominence but are completely missing or not covered adequately in art spaces.

Richard Mensah

Born and raised in Ghana, and now based in South London, in a few short years, the scientist turned artist, has steadily built a great name for himself, and has piqued the interest of some of the most prolific and important international art collectors and patrons of today.

Raphael: I think by now it goes without saying that I am a huge supporter of your work, and the narratives you address. Bias aside, with you being my countryman and all, you are a superb artist, and more than that, you are an important one for reasons we will touch on later. 

Q: When would you say your journey as an artist began in earnest, and how would you describe it so far?

Richard: I have always been an artist and describe myself as a born artist rather than self-taught because I never taught myself. I have always sketched, drawn and painted since I could remember anything. After a very long break from creating art, I got back into art again circa 2017 and gradually dedicated more time to my practice as the years went by.

I started painting more when the COVID-19 pandemic first hit in early 2020 when I got a break from my other commitments.

So far, it has been amazing, hard work and patience, which is always tricky in the world. I have met many wonderful people and see every day as a growth opportunity for me in the art world. The support for my work has been outstanding, and I am always appreciative of my collectors and supporters worldwide.

Raphael: One of the reasons I first fell in love with your work was for sentimental reasons. You captured an iconic historical scene, one of the five major battles of the Anglo-Ashanti war, with such detail and depth that you could almost hear the roars of the rifles firing and smell the smoke, decay and death in the air.

Q: What drove you to capture such an untold historical portrait, and what else in this vein of work can we expect from you?

Richard: My practice is to balance the often missing visual representation of critical African/Black historical events and narratives that should be given prominence but are completely missing or not covered adequately in art spaces.

I have always been fascinated by the rich Ashanti history and culture. I have been drawn to some of the key battles and resistance between the Ashantis and the colonial masters.

In particular, the first Anglo Ashanti painting is to provide some needed balance to the narrative that the African or Blackman did not provide any resistance when they were being enslaved or colonised.

The Ashanti history presents tangible evidence that the often portrayed or accepted narrative is not the case. It showed that our ancestors resisted and fought and won some of these battles against the oppressors and were not weak, as portrayed in many historical accounts.

Raphael: It would be remiss of me not to ask, and I’m sure our readers would be keen to know. In recent times you’ve entered the private collections of art enthusiasts and more serious and prominent collectors. You’ve also piqued the interest of quite a famous collector in Ms Tina Knowles, mother to Beyonce Knowles.

Q: How does it feel to have your work so widely sought after, despite not yet having a major solo exhibition under your belt; what would be the pinnacle for you as far as private or institutional collections you would love to be a part of?

Richard: It feels good to create work and for it to be appreciated. Again, I will say that I appreciate the support from all my collectors and those waiting to collect as well.

It will be nice to have some of my works contribute to the history of African or Black art and enrich people’s lives. I believe in putting in the hard work, creating works that will contribute, educate and add to the culture. If any of my pieces find themselves in any private or other institution collections, I hope it is to achieve one of the objectives I’ve mentioned. This, to me, would be the pinnacle, not the prestige of the collector or the institution.

Raphael: Social media has in recent years played an important role in connecting artists with collectors, curators and gallerists. Even more so in this pandemic, it’s proven to be the saving grace of the global art market at large, with virtual shows going from being a novelty to the norm.

Q: What role has social media played in your journey as an artist, and your ability to connect with both a local and international market?

Richard: Social media has played a vital role for me as an artist. It has connected me to many incredible people – collectors, curators, fellow artists and many more. It has somehow democratised art and made it accessible to a lot more people, which I think is excellent.

You alluded briefly in one of your questions to the fact that I haven’t had any major solo shows, but some of my works have found themselves in front of some incredible people. A lot of this has been through social media. The benefits have been immense, and I believe that it will play a significant role in my practice as an artist.

Raphael: Now we know contemporary African art has been on the rise in the last decade, and even more so in the last few years. I think it is irrefutable that this demand has been in part stimulated by artists of Ghanaian heritage who have especially been leading the charge, notably those who graduated from Ghanatta School of Art & Design, and from Kwame Nkrumah University of Science and Technology (Tech).

Q: How do you feel about the rise of Ghanaian artists, and what in your view is contributing to this rise?

Richard: Even though I went to Kwame Nkrumah University of Science and Technology, I went there not to study art but engineering. I think it is incredible to see so many outstanding Ghanaian artists doing so well and, as you rightly said, leading the charge.

I am always happy to see the underdog doing well, and African/Black art has been the underdog for far too long. It is good that we are beginning to get the proper recognition. I am sure several factors are contributing to this rise, such as effective use of social media by artists, the authenticity of African/Black art, peoples’ consciousness being piqued by recent social events or the art world realising that there is money to be made from investing in Ghanaian or African artists.

Raphael: There are those in the art sector of a conservative ilk who are skeptical about the rise and demand of contemporary African art, likening it to a temporary bull market that will ultimately fall.

Q: Do you believe this demand is sustainable, and likely to continue, or like all highly speculative markets is liable to eventually crash?

Richard: It is a yes and no answer depending on several factors. Yes, in the sense that if African artists maintain their authenticity and continue to create ‘relevant’ good works, then indeed, the demand can be sustained.

The no is if African artists become too predictable and create works that are part of the latest trends or fads, then very soon as with all trends, it moves on, and the demand will ultimately fall.

Raphael: Outside of art, I know that you also lead a demanding professional life as a scientist, and as a family man.

Q: How would you say your day to day profession and personal life has impacted you as an artist, and what would you change, if anything at all?

Richard: I take a lot of inspiration from my family. Many of the ideas conceived for many of my paintings are from day-to-day interactions with my family. My other profession as a Scientist is demanding, and it takes a lot of my time than what I am willing to give if I am honest.

However, I believe that, like art, I contribute to making the world a better place for posterity. There are times I wish I had more time to create, so that is a negative impact on my art practice. If there is one thing I can change now, it will be to get more time to create art. I know this time is fast approaching.

Raphael: I believe like many of us, you come from a generation of African families, who did not consider art a worthwhile pursuit or future career.

Q: Now that you are an artist, and also nurturing your own children’s artistic prowess, notably your daughter, would you say your upbringing has shaped how you encourage your children’s creativity

Richard: Our parents’ generation was different. They did not see art as a worthwhile career, as you’ve rightly mentioned. They, therefore, did everything to push us away from pursuing art, I will add with good intentions. Now that I have been fortunate to do many different things – as an engineer, scientist and artist, I have a good perspective and understanding of what other careers entail.

Therefore, I let my children experiment and go in any direction they want to go. My daughter sees herself as a great artist, and I agree and encourage her to be just that.

Q: What is next for you as an artist, and what can we expect in future, as far as a new series of work, or any group or solo exhibitions?

Richard: As an artist, I want to keep improving, putting in the effort and seeing what the universe has in store for me. My greatest hope is for this generation to be enlightened more through art which I hope to be one of the artists contributing to this.

Once I am done with my current series, I will be exploring the narratives around African/Black families, how we see ourselves and how society perceives us and shedding a little bit of light on our lives.

Again the work will seek to correct some of the imbalanced narratives on African/Black families. On how we are perceived and our role and contribution in society. In terms of solo or group shows, I will say watch this space for some announcements.

Raphael: As you know from our in depth discussions offline, one of my greatest motivations as a historian, writer and a curator, but above all as an African, is to tell our stories. Before we go, tell us, what is your goal and purpose as an artist.

Q: What are you hoping to accomplish and achieve in this industry?

Richard: There is one thing about me: if I cannot give my best, there is no point in starting. This should not be equated to seeking perfection, but I hope that my efforts and thoughts that go into my art will positively contribute to people’s lives.

These are the there main things I hope my works achieve in this industry:

● To educate, to educate my audience through art, especially those in my community, to know and understand our history and culture.
● Representation; to provide a balanced representation of the African/Blackman’s story to the world.
● To empower; to empower those from my community through the use of visual art. My work tries to capture the strength, beauty and the power of African and Black people.

https://www.instagram.com/officialrichardmensah/

https://www.richmends2001arts.com/

©2021 Richard Mensah

Raphael Dapaah

Raphael Dapaah is an independent art curator and writer.  He specialises in promoting and consulting on contemporary African art, and is currently based between Ghana and the UK.

My works are centred around gender inequality, mental health, societal and political injustice, how it affects us as humans and how it ends up shaping our views on life

Matthew Eguavoen

His work drew me in and held me to ransom, and though captured in a portraiture style that has been adopted by most, if not all the rising contemporary art stars of today, his work still manages to cut through the noise, and shine brighter than all the hidden gems I have unearthed over the years, in the deep mine that is the contemporary african art market.

Raphael Dapaah: I’ll kick off this conversation first by congratulating you on the very recent birth of your son.

Q: How does fatherhood feel?

Matthew Eguavoen: Honestly, nothing I have experienced in the past prepared me for it. The waiting time outside the labour theatre was a long one. My mind was up; I couldn’t eat, I was pacing outside the labour theatre, praying my wife would have a safe delivery, and I am glad that my prayer was answered. There is the overwhelming joy of having a mini-me, and then there is the feeling of responsibility that comes with being a father. This is my first child, and it is going to be a whole learning process for me.

Raphael Dapaah: On to the art now. I came across your work by chance whilst browsing through Instagram, and I found myself in complete awe of your work. Your muses have a magnetic quality and hold your gaze.

Q: How long have you been painting for now, and at what point did you consider yourself a professional artist?

Matthew Eguavoen: I started painting in 2018. I had bought painting materials in 2017, but the fear that I might mess up a blank canvas held me back from painting for almost a year. But when I eventually found the courage, I never stopped.

I considered myself a professional artist this year, 2021. I say 2021 because, before 2021, I spent more time experimenting and working towards consistency in my works. I knew there are many rising artists, and I needed my works to stand out, so every day, I put in more and more work.

Raphael Dapaah: So, I know you are a Nigerian artist, which despite being a Ghana man myself, I find myself perpetually falling in love with work by Nigerian artists!

Q: For the benefit of our readers, can you expand a bit about your background. Where were you born and raised, and what was your upbringing like?

Matthew Eguavoen: I was born in Lagos State, Nigeria. Most parts of my childhood was in Ogun State, Nigeria. As a kid, we moved around a lot because my dad was a police officer (now retired), so he was transferred from state to state, meaning each time I would have to start making new friends in every state, we found ourselves, which was tiring. 

I was good at making biological diagrams in secondary school, but I did not think of myself as an artist until my final year in the university. 

Raphael Dapaah: It feels like art by black artists is all the rage across the significant art capitals. But it’s worth noting that Nigeria has a long and established contemporary art scene, with growing patronage from collectors based locally and internationally.

Q: What do you think has contributed to the health of the domestic market?

Matthew Eguavoen: Internationally? Yes. But personally, I can’t say that the patronage of collectors based locally has improved. 99 % of collectors that have collected my works are international collectors.

I think there is still a lot of sensitization that needs to be done here in Nigeria on the importance of art collection. In my own opinion, If I was to compare Nigeria to Ghana, Ghanian Artists are getting way more support than Nigerian Artists are getting locally.

Raphael Dapaah: I don’t know about you, but the pandemic really took a toll on me, and I didn’t realise just how much consuming art contributed to my happiness and wellbeing until we were forced to lockdown.

Q: How did the pandemic impact you personally, as well as your artistic practice?

Matthew Eguavoen: I spent the lockdown experimenting and creating works, I didn’t sell any works during the lockdown, but that didn’t deter me.

Raphael Dapaah: I was speaking to a collector friend based in Los Angeles recently, who is absolutely enchanted by your work, by the way, and we both described you as truly a hidden gem. Whilst figurative portraiture has gained in popularity in recent years, your work seems to really move, and mesmerise in a way that truly sets you apart from your contemporaries.

Q: What is next for you as an artist, and what can we expect in future, as far as a new series of work, or any group or solo exhibitions?

Matthew Eguavoen: I am working towards taking part in several group exhibitions this year when the opportunity presents itself. I am also looking forward to having my first solo exhibition either this year or next year; I’ve just not found the right gallery to work with yet for that.

Raphael Dapaah: One of the notions I find myself thinking about often as a writer and curator is legacy, and the contribution I want to make in this space, as an African telling the stories of Africans and black artists globally. Before we go, tell us what is your goal and purpose as an artist.

Q: What are you hoping to accomplish and achieve in this industry?

Matthew Eguavoen: Most of my works are centred around gender inequality, mental health, societal and political injustice, how it affects us as humans and how it ends up shaping our views on life in the long run. I hope that my works will strike up debates that would lead to solutions for challenges we face as human beings one day.

I want my works to go to collections that will shape the art industry in the future; I hope that my works will be sitting on museum walls around the world one day.

https://www.instagram.com/bartbouy/

©2021 Matthew Eguavoen

Raphael Dapaah

Raphael Dapaah is an independent art curator and writer.  He specialises in promoting and consulting on contemporary African art, and is currently based between Ghana and the UK.