Park visit and lecture

Today was a very interesting start to part three, being able to look around the park that I would be exhibiting my work in April is something I really look forward to. We were given a lecture at Lauderdale House about the history of the buildings and the history of the park. We then were given a tour around the park and it was great to see where we are going to be exhibiting our work in a couple months which was so exciting and already allowed me to imagine what i could make and where it could go.

I have to say, the lecture given was something that helped initiate an idea. I felt like the whole lecture was based a lot on the leaders of the park. The owners and those who lived in the park and the wives of the men who lived in those house, the dead dogs that become ghost dogs and even the moustaches and wigs the men owned. I just felt that the information was mainly about those who are seen as important and it was clear that they had a lot of respect for the owner and other residents of the park. But one thing that stuck with me during the lecture was the lack of research for the gardeners and the maids. I felt like if anything they must have had  an impact on the park and the maintenance of the park and the houses wouldn't have been kept how they are ow if it weren't for them. For me I have to treat the boss the same way I treat the cleaners so I just felt like the research that were given into things like ghost dogs, moustaches and wigs weren't given to the maids, builders and gardeners. I remember telling myself as soon as I get home I'm going to try and find the actual image of the maids and the gardeners and try research more about them. I think that I would like to make something that would be dedicated to them. Lord Lauderdale has his own statue so I may want to make a statue memorial piece for the maids and gardeners. I looked on two websites and I honestly couldn't find any information on their websites that were about the maids nor the gardeners. 

https://www.lauderdalehouse.org.uk/

https://www.british-history.ac.uk/survey-london/vol17/pt1/pp7-18

The information below is a little bit about the park and the house but you can clearly see that the information is a lot about the owners and other residents but not about the maids, gardeners and builders that helped contain and make what Lauderdale Park and House is today. 

Waterlow Park is formed from the grounds attached to three houses, Lauderdale House, Fairseat, and Hertford House, the last mentioned being taken down by the London County Council after Waterlow Park was presented to them in 1889. The donor, Sir Sidney Hedley Waterlow, was Lord Mayor of London in 1872–3, and died on 3rd August, 1906.

That a house of some size occupied this site in the latter years of the 16th century is certain, and the names connected with it will be found in the historical notes that follow. Although very much altered it is easy to recognise a large part of the fabric of the original building, but it is impossible to determine its first plan. The entrance is now in a range facing Highgate Hill and looking north-east, and the basement walls here are built of two-inch bricks in English bond, and are undisturbed. At right angles is a long range facing south-east, looking over the gardens. It is of two storeys, the upper projecting beyond the lower, and the oak timbers of the roof are in good preservation. It is probable that this was the "long gallery" of the Elizabethan house, and in its lower external wall is still to be seen a good oak doorway of the period with stop-moulded frame and square head. This doorway now frames a modern inscription recording the gift of the house to the London County Council. It is not certain that the doorway is in its original position. A later wing facing south-west, with the upper story carried on columns, balances that to the north-east, and gives the house the appearance of having been a half H plan, but a basement (not now built over) on the north-west side may indicate that the house was originally quadrangular or open on the south-west, instead of, as now, the north-west side. The long ground-floor room looking to the south-east is now panelled, partly with panels found in situ, and partly with similar wainscot found in other parts of the house. It is all of late 16th-century type: small panels, moulded styles with butt joints, and chambered and moulded rails. In the internal wall is a four-centred arched doorway, within a square moulded frame of Elizabethan date, the spandrels on one side being carved with a simple strap-work design.

The house must have been largely altered by John Maitland, 2nd Earl and 1st Duke of Lauderdale, in the time of Charles II. The fine stair in the angle between the north-east and south-east ranges is of this date, and may have taken the place of an Elizabethan stair in the same position. It is of sturdy dimensions with panelled strings. The moulded handrail mitres over the newels excepting the two upper ones which have slightly shaped caps. The balusters are of twisted pattern. Several of the original doors remain on the stair and the one by which the hall is entered has an arched frame with semicircular head. This appears to have been adapted either at this or a slightly later period from a replica of another doorway in the hall, which has radiating panels in the upper half dating from the first half of the 17th century.

The staircase is lit by an elaborate and beautifully designed lantern light, octagonal in plan, its vertical sides being formed of eight panels with enriched bolection mouldings of bold proportions. The junction with the ceiling is marked by a plaster cove, enclosed in mouldings and filled with excellently modelled fruit and flower in high relief. The cornice has a carved egg-and-tongue enrichment without an upper fillet. The light itself is a simple but effective octagonal cone on a low drum of 18th-century ironwork.

It is probable that the original hall of the house was either in the destroyed north-west range or in the position of the present entrance hall, since the overhang of the south-east range precludes the possibility of its being placed there. The entrance hall is panelled with large panels of 17th- or 18th-century type, some being fielded. At the north-west end is an elaborate recess, finely carried out in carved and panelled oak. The external frame is formed by two fluted pilasters with Corinthian capitals supporting an turntable, the cornice of which is mainly composed of a large cavetto covered with carved ornament. The architecture is also enriched, and each member breaks round the projecting blocks above the pilasters, and a key block, in the centre, with carved soffit. The interior of the recess is occupied at dado height by a shaped and moulded shelf of Sicilian marble, and in the floor below is evidence of a drain. The recess is lined with marble below the shelf, and above by panelling between a centre pilaster, twin angle pilasters, and two more, one at each edge of the reveals. The ceiling of the recess is higher than that of the room, and an turntable, similar to that of the outer frame, and equally enriched, is carried round at the higher level. One of the capitals has been made up from a small carved drum. The whole recess is beautifully finished and was probably designed as an elaborate sideboard, when the room was used as a dining-hall. It is possible that the panels at the back were at one time made to open, in which case it would have been used as a serving hatch to the kitchen to the north. In the late 18th century the house underwent further changes. The two columns of Greek Ionic type, now in the entrance hall, are balanced by a pair of similar columns at the junction of the south-east and south-west wings, and it would seem that the whole garden range on the ground floor was converted into a long apartment, with pairs of columns at either end of the internal wall. The upper storey was at the same time prolonged over a colonnaded loggia on the south-west, the windows were replaced by sashes of the period, and the roofs were furnished with pediments. The details of the doors, windows and shutters inserted at this time are characteristic of the very end of the 18th and the beginning of the 19th century. To this period no doubt can be ascribed the classical scene of Briseis being led away from Achilles, executed in plaster, which fills the space over the fireplace in the entrance hall.

The entrance has a porch supported by two columns of the Doric order with full turntable, and the gates on Highgate Hill are of wrought iron hung to brick piers. In the garden to the south-west of the house is a brick wall, having a recess with four-centred arched head; and to the south-east are some 18th-century wrought-iron gates hung to brick and stone piers with well-carved stone vases as finials.

The building was taken over by the London County Council in 1889, and put into good repair. A low modern range that closed the north-west side was taken down, and with it an unimportant veranda, which had been inserted to prolong the loggia on the south-west. Careful plans were made at the time, and alterations to the interior and its paneling and fittings are fully recorded. The entrance hall is now a shelter for the public using Waterlow Park. The long ground-floor space on the south-east is used as a refreshment room and the upper floors give residential accommodation for the Council's staff.

PPP Process

I had a clear thought of what I wanted to express in my PPP but making the theme narrow was something I found mainly challenging. I tend to prefer broad topics so that I'm not limited to what I can make however having discussions with my tutors made me realise that I already want to focus on one specif theme when it comes to race and to just use that as part of the heading for my PPP. I am interested in the concepts of identity and culture, but I want to specifically focus on conflicts of black culture such as racism. I aim to use historical and current economical, racial and social struggles people have gone through and continue to and create a piece that will be dedicated for those who have dealt with discrimination. I aim to investigate whether it can provoke a more intense experience by evoking a more engaged response through emotion or experience. To develop these aims I intend to use both primary and secondary research, for example reading books, articles and essays on race as well as art disciplines, such as black cinema. I want to create a project that represents power, beauty and alienation of the black society. My research will help me gain a better understanding of racism in today’s society along with racism in the past. Living in London has given me ample opportunity to visit galleries, art fairs and exhibitions such as Tate Modern viewing better known artists such as Kara Walker and Hank Willis Thomas. Seeing contemporary work in the flesh that are about subjects like slavery and race are an efficient way to embrace black history and the art world.

Finding the right heading was a challenge but I was really happy that I went through the process i did because it made me understand that the findings of a theme happens through a process. You can't just come up with the theme straight a way you have to be broad at first to then narrow it down. 

My journey with my headings:

1. Identity
2. Inequality of Identity
3. Conflicts or racial, economical, cultural identity
4. Black power, beauty and alienation
5. injustice of the black society
6. Conflicts of racial identity
7. Conflicts of black identity
8. Racism
9. Systems of racial discrimination/ classification in the western world
10. Conflicts of black cultural identity

Exhibition visit - Homeland Under My Nails – Mohammad Omar Khalil (The Mosaic Rooms)

I visited an exhibition at the The Mosaic Rooms called Homeland Under My Nails – Mohammad Omar Khalil. It was great to go to an exhibition to a man who once lived in my country and knows a lot about the north African culture. His work was so large scale and so beautiful I was so happy that i got the opportunity to go see it. I felt like going was a reminder of back home (Morocco) and gave me a greater understanding of African Art and made me realise that I need to find and do more research on where I can see a lot more Black or African art ion real life. I do want to visit the British Museum and the Victoria and Albert museum as I know that they do have sections dedicated to black culture. 

What I learnt during my visit:

Mohammad Omar Khalilis a painter, master print maker and mentor. Practising since the 1960s, he is one of the most significant artists of his generation from Sudan and the Arab world. Homeland Under My Nails, curated by Abed Al Kadiri, presents prints by Khalil from throughout his career. It is the first major UK solo exhibition of his work.

The exhibition opens with a series of self-portraits and early works. Khalil, now 83, has long experimented with self-portraits as a means of self-transformation. One of his earliest self-portraits from 1968, at only 2cm by 2cm, challenges the form and medium. Much of the artist’s early work was destroyed in the flood that hit Sudan’s capital in 1988. The few works that survived are displayed here alongside early experimentation's from the artist’s time studying at the Academy of Florence, showing the evolution of his style.

The exhibition then looks at the international sensibility of the artist, who trained in Sudan and Italy, and has lived and worked between New York (USA) and Asilah (Morocco) since the 1970s. Moving to New York he quickly began incorporating pop culture into his work stamps, music and film. The Harlem Portfolio brings together the life and spirit of the New York neighbourhood in a large scale series of prints 5 metres in length. In 1978, Khalil took part in the first Asilah Festival and continued to return as the festival’s head of studios for three decades. Works including Asilah Connection (1992) show him exploring the materiality of light in the coastal town.

A search for light and the use of black is the driving force in Khalil’s work. He says: “In blackness, I see degrees and shades of rich, complicated colour, more intense than in other colours, roaring and loud.”

Mohammad Omar Khalil’s work is significant to the Arab modernist movement and to the history of International Modernism. His work moves across continents, seeking connections, drawing together influences from North Africa, most significantly for the artist from Sudan, and Morocco, (where he returned annually over three decades for the annual Asilah Festival) and from the European canon.

Sudan continues to be a point of orientation for Khalil who says: “My homeland exists in my nails, it expresses itself whenever I create an artwork.” This exhibition is a long overdue celebration of his life’s work.

What I learnt about the artist: Born in 1936 in a village near Khartoum, Mohammad Omar Khalil studied at the School of Fine and Applied Arts in the Sudanese capital, alongside members of what is now termed the Khartoum School. Graduating in 1959 he was appointed Head of Painting at the school before moving to Florence in 1963 to study frescoes and mosaics at the Academy of Fine Arts, Florence and later, Ravenna. From Italy Omar Khalil moved to New York where he was to stay, and still works today. Recent solo exhibitions: You Don’t have to Be, Aicon Gallery, New York (2019), Mohammad Omar Khalil, 50 Years of Printmaking, Contemporary Art Platform Kuwait (2014). Group exhibitions: Art Sudan, Meem Gallery, Dubai (2011).
Khalil is one of the Arab world’s most important contemporary painters, having influenced two generations of regional artists. His work, spanning over forty years, across painting and print-making, is in a privileged position between the canon of modern Arab art and the artist’s ground-breaking practice, searching for a dialogue between dissimilar cultures. Profoundly influenced by his travels throughout the Middle East – in particular Morocco and Sudan – and the art history of Europe that he became immersed in during his studies in Italy, Khalil has brought to life a pioneering form of art, in which elements and patterns from tradition merge with pop art and fine prints.

Talk with Fritha

Today I have finally finished both my PPP and Park Proposal/ Risk Assessment. I feel like now I can start the process of making and creating the park outcome. I write a list of instructions for me to follow so that I don't waste time and stress when creating the piece. I honestly have been waiting so long to get making and my shovel that I have ordered has come so I will start this journey tomorrow. I spoke with Fritha when giving my park proposal and we spoke about scaling the piece up so that it links to the size of the statue of Sir Sydney Waterlow. I thought it was a great idea to create something that will distract from the statue itself which I aim to do by using colours like white so that it stands out. However after speaking to the metal technicians they said that they don't have the resources to make a large scale shovel and mop and that the proportions would end up being off and very expensive I was to make it. So i started to think about having them on a platform but I came to realise the piece will be more effective if they were placed on the floor. I then spoke to Fritha about how hard it is to find research on both the maids and the gardeners at the Lauderdale House. After I found a letter written from a maid and she mentioned that Lord Lauderdale treated the maids like slaves. I thought this information could be the link between my ideas and the theme of black culture.

 Real Impact & Performance seminars

Today I had taken part in two seminars as well as starting my project for park. We spoke about Human Impact and Earth and concepts of the Anthropocene. Yet through the themes we explored today, interrogating the Anthropocene age, it could be argued human behaviour and dominance has made this impossible. Anthropocene is relating to or denoting the current geological age, viewed as the period during which human activity has been the dominant influence on climate and the environment. For example "we've become a major force of nature in this new Anthropocene epoch". And as a noun it is the current geological age, viewed as the period during which human activity has been the dominant influence on climate and the environment. Such as "some geologists argue that the Anthropocene began with the Industrial Revolution".

The performance session was really fun and something completely new and different. I have never taken part in performance work before as I believe I am a very shy person. I especially hate public speaking. Being a part of a performance, especially in public, is something I find so terrifying and i don't think I could ever see myself being a part of one. It also made me realise how I’m not confident in front of a crowd, however Fritha made it clear that we didn’t have to do anything we didn’t want to which didn’t make me feel like I had to take part. At the start we all introduced ourselves and gave a reason as to why we attended the session, I honestly attended because I thought it would be a new experience for me and be something I could learn more about as it is a form of art. I learnt that you don’t have to be a part of the performance to be actually a part of the performance. Being part of those who are the audience actually take an important part in what a performance becomes and how the way the audience react to the piece could alters the outcome. A lot of people in the group did find it easy to interact with both the “shoe performance” and “dance performance” but I just couldn’t but I learnt that it’s not a problem that I didn't. I also realised that during the shoe performance I kept thinking about what to say and how to say it and it made me question why I felt I had to think about what to say when others didn't have to. 

Hands

Today I contacted some family and friends as well as my neighbour to send me pictures of their hands. I asked them to have a black background of some sort and to do different hand gestures that show some sort of emotion. I was so grateful that I have people that are willing to still help me through this time. My aim with the hands is to use as part of my sculpture idea. I believe that our hands play a large part in our identity and who we are. And I found a common theme within my research and that was hands. When it was work that showed themes of police brutality or slavery it was the hand actions that stood out to me. Although my project description is based on one race I have found I have also looked into other races but I don't find that as being a problem especially because of the limitations of being on lock down. I believe everyone has a story and I just focus on making it relate to a wider audience. But I still want to look at the conflicts the black community go through or have gone through by using hands to express those events. I aim to go further and look at faces that have been taped up to show the silencing of black struggles and also use paint to make sure that I am continuing making and doing throughout this time. I have looked at artist that Fritha had sent to me that I looked at briefly but the use food as a material. I think that would be really interesting to use food as I have used food in previous works but again I don't think in a time like this I should be using food for art but I will see. 

Feedback from Fritha

Feedback and actions on Studio Practice (sketchbook pages and outcomes): Despite being really disappointed by not being able to do your Park sculptures you’ve been adapting and thinking through new ideas in a really positive way. You’re being really open in the way in which you’re approaching ideas – thinking about what you have to hand, and consequently potentially exploring how you might use your body, and particularly hands, in your work. Your ideas to create numerous outcomes which say similar things in different ways and accumulatively become even more powerful also feeds back into what you were thinking about visibility and recognition with your Park proposal. The reflection in your sketchbook is excellent – keep up this level of thinking (and writing down) you thoughts as you progress with your work. I agree as well that the hand images are really powerful. Now begin making and doing as much as possible. In your sketchbook annotate the images in it so you evidence what the image is of and how this is informing what you’re doing and add more of the written reflections.

Feedback and actions on Contextual Practice on Workflow: You’ve done incredibly well to adapt following on from not being able to do your Park work – the work you’d proposed was developing into a really exciting and important piece, I was also disappointed that you weren’t able to do it. You note in your reflection that it’s hard not having galleries open, some galleries are doing online exhibitions so it’s worth checking them out. For example I found this yesterday which is a recent performance at Tate Modern which was done after it closed because of the virus https://www.tate.org.uk/whats-on/tate-modern/exhibition/bmw-tate-live-exhibition-2020. It’s not directly linked to what you’re doing but I think it might be interesting in terms of the body as archive. You write about planning on doing a different task each day, how is this going? You also reflect on the challenges of making work in isolation on a daily basis. You mention about how it’s difficult to work when you associate your house as a place of relaxation rather than productivity. Is there a way in which you could maybe have a table or place that is designated at certain times each day to work at? One of the challenges of being an artist is to stay motivated despite things going on around us - it can be very useful to establish a routine whereby you always try to start work at the same time of day (even if it’s only for a short time). If it’s helpful I can check your workflow again on Thursday and see where you’re up to?

Feedback and actions on Research on Workflow: You’ve got a great range of research that you’re looking at, it’s really interesting – keep going with this. What did you think about the Galerie Fons Welters Renzo Martens project? I saw his film and was at a talk he gave a few years ago. Martens is and interesting artist – provocative and problematic, he’s been heavily criticised by some people for what he’s doing - https://www.nytimes.com/2017/02/02/arts/chocolate-sculpture-with-a-bitter-taste-of-colonialism.html Do you have any thoughts about this? Unfortunately it’s closed currently but for future reference when things get back to opening again you might be interested in The Stuart Hall Library, it’s really good, free membership https://iniva.org/library/ and has interesting events on at it.

Further actions to be completed over Easter:

• Keep up the good work and start making and doing with the resources you have available. 
• Upload your sketchbook as you work in it 
• Upload examples of outcomes as and when they are completed to your 'Outcomes' folder 
• Upload research sources.
• Keep updating your schedule as you go

I was really grateful and happy with the feedback that was given back to me by Fritha. I agree that although I have to change my part three completely I have had time to think of it as a positive thing and remind myself that I should just continue with my ideas and make it specific to the theme and not the park. I started to ask friends and families to send over pictures of their hands as a starting point and I think it would be good to work from those. I may also want to take pictures of family and friends faces with tape across their mouths as another starting point. 

Weekly Review

For this week I have decided to get away from taking photos and instead start to create sketches and outcomes from the images I have taken. I tend to always use photography as a base to start projects which I then use to start the journey of the creative process of making.It has taken me a lot longer to reach but I don't want to waste time doing nothing so it has been fun making and doing. I spent time this week finding materials that I could use and I found really useful material like paint, fabric, powdered ink. I think I have an idea for my final piece but I still want to use this time to experiment and see what else I could possibly make as a final piece. 

Using the images, I had taken and received from friends and family, I used them to push the work even further. During this pandemic I have become more experimental with ideas and materials as I am not able to be as adventurous as I was before the pandemic. I decided to use a material that I had a lot of in order to create a larger body of work and that was candles. I used melted candle wax and a brush to create exaggerated outlines of a pair of hands on fabric material. The piece reminded me of batik work and I found the process of making the piece really enjoyable. I then had to think about ways of linking it back to the themes of conflict towards black cultural identities and found images I had taken of a friend who is black. I decided to use images where he expressed emotions of sadness and anger and created one 5-minute drawings and a quick painting of his face. I loved the contrast of using white paint on black card and then using a black crayon on white card. I then decided to use the wax again and powdered ink/dye to create more experimental pieces. I found that I enjoyed using photography for this project only because I thought that it is accessible and easy but doing these drawings and wax drawings really made me come out of the comfort zone of relying on photography. After creating these outcomes, I asked my mum if I could take pictures of her with her mouth taped. In order to create more outcomes.

Weekly Review

How can you adapt your working process to continue exploring the potential of your ideas and concerns without focusing on a physical output?

I realised that I must stay focus and enthusiastic even though it is quite hard to do during a time like this. The work process i believe is more important than the physical outcome as you would need to build experimental work and do research on your concept before making the piece as it wouldn't mean anything if you skipped all the work process. I have adapted by thinking about what materials I can use and thinking a lot about the process. I do sometimes find it hard to think of different ideas first I tend to just think about what the final outcome could be and not think about the journey I would need to go through before making the piece. But the piece idea is always evolving when I've done more practical work or more research. 

How can you now develop new ways to visualise your thinking in order to share it with the world?

This is something that I find very hard because sometimes my ideas or thoughts are crazy and it kind of becomes this long train of thinking that then leads to a final idea. I think the important thing to do is find common themes in your research. One thing that I did at the start of this lock down and was told I had to think of a new idea was going through my research. Going through my research and writing down all the common themes that appeared. I realised that a lot of artists looked at hands and facial expressions. The list was hard to write out as I had to think if it was practical to make during lock down. So that is why i started to take photos of hands and faces and then I started to tape the faces and photograph them. 

This week I looked at "Typology of Dreads". I asked my neighbour if i could take pictures of his hair. It was carefully done. We were two meters apart and we both wore gloves and masks. He also studies art so it felt really normal and it was really quick. I also asked if i could photograph his face whilst showing emotions of anger and sadness. It was really powerful and I decided to use them to do quick sketches and batik paintings. 

For my final outcome I do really want to use the photography I had produced as I believe that they were a lot more powerful that the paintings and drawings I done. But I was also thinking of using the hands and do prints which was inspired by Naoki Hayashi – gyotaku, who does printing directly from objects like fish. I like the idea of doing prints or taking pictures of the body that have words written on them. Or slogans like "what about us" which was something I was going to use in the first part of the project for park. 

Writing up my Evaluation

Unit 4 Fine Art evaluation

Name: Fatimazohra Chelaulau

Pathway: Sculpture

Original PPP title: Conflicts of black cultural identity

I proposed to study the concepts of identity and culture, but specifically focus on historical and current economical,racial and social struggles people have gone through and still do. I wanted to create a concept that represents the power,beauty and alienation of the black society. I associated this with discrimination and lack of recognition, therefore I aimed to create a piece that would be dedicated to gardeners and maids at the Lauderdale House and Waterlow Park.

Having to adapt our day to day lives due to Covid-19 has been challenging. However, I have used this time to reflect and think of creative ways to experiment and generate work whilst self-isolating. It has gotten easier and it is nice that by creating work, it has distracted me from this pandemic.

At the start I found it extremely hard to manage as my intended proposal was so specific to the park and I had no useful materials or equipment at home. I adapted my way of thinking by convincing myself that this was a challenge for the end of this course. It allowed me to feel less stressed out and get on with new possibilities. I therefore employed photography as it allowed me to communicate my theme.

My new territories of interest emerged from recent news in China,Guangzhou who had confirmed 114 imported coronavirus cases, 16 of which were Africans. The rest were returning Chinese nationals.Which has led to Africans becoming targets of suspicion, distrust and racism in China.Some had been forcibly evicted from their homes and turned away by hotels.What is going on in the world right now is crazy,but it is even crazier how people are still finding time to divide cultures and races even through a pandemic.

I feel like I have learnt more about myself and gained a deeper understanding of what I stand for and what I don’t. I have learnt more about the world and how ugly it can be,but from it I have managed to create work that has also taught me how beautiful it is.

Writing up publication and video call with Fritha

My tutorial with Fritha was really good. It was nice to catch up and see how we both were doing. I felt like  had done enough work for the project considering. I also asked her to read over my evaluation so I could gain a better understanding before it gets submitted. We spoke a lot about the meaning and the process I went through with the outcomes which was really good to talk about as I don't think I have wrote a lot about it. I definitely want to join the performance video call on Friday so it will gibe me a chance to show my work as well as say bye to everyone in my class. I feel quite upset that the course has ended like this but I hope we would all celebrate this year once everything is over. The discussion also helped me think of things I want to write in the Publication as I was finding it hard yesterday to start. And I also know what images I am using for the submission which was something I didn't think of before hand. I look forward to Friday and I hope I can bet more feedback from my classmates from the work I have produced.

Fine Art Publication submission

Fatimazohra Chelaulau
Sculpture
Conflicts of black cultural identity

I am interested in the injustice and discrimination towards the black community. I question why topics like racism and slavery are so silenced. Why would something as virtuous as the truth be a burden for some? Because when the truth is held up, it reflects the false securities that our society rests on: the capitalism, the racism, the sexism, the homo/transphobia, the anti-blackness. To escape these truths, silencing has very often been the answer.