30 January 2020
- Original work – painting, offset printing with stencils
- Experience of racism in Amsterdam shattered her sense of place, made her question her identity, roots
- Images as pictograms of African Men and Women, repeated in varying sizes for perspective, hand cut from kraft paper
- References silhouettes of architectural elements in some works
- Adopted kraft paper used in offset printing stencils as medium of expression
- Hand cuts and installs work on her own
- Material narrative – disposibility of paper – reflect the disposibility of the lives of subjects
- After exhibit – she does not participate in removing the figures (they are not relevant to her after the exhibit)
- Aleya – they are not disposable since they travel between works, to different geographical locations, viewer forms a relationship with the figures – in their repeated poses, activities, stances – experience of viewing number of artworks in a presentation – gives them an individual identity
- Wall bound works – contraint of no walls, only windows called for innovation in paste-ups on windows, ended up looking like light boxes
- Slave ship with gingerbread men – strong narrative of slavery in the use of flour, sugar etc., reference the context of forced agricultural labour, burnt gingerbread men from slight lapse of time and judgement – tipped over the ship (into trash)
- Consumable bodies – viewers’ interest in tasting these objects
- Elasticity of history – imagined stories, influenced by historical events, but independent in narrative
- Kraft paper – strong and fragile at the same time
- In her practice – personal – public – political – transition with expression
- Pictographic language made it easier to express – did not have to use her own self
- Personal – faded away slowly and became more public
design factory 