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QR code design for the table, inviting the viewer to scan it

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These were some of the files that I downloaded to print 3d sculptures of Venus statuettes as decoration for my 3rd room.

They are symbols of womanhood, fertility and femininity, bringing a symbolisation of dignity and glorification into this room.

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- Where the light hits the plate, it hardens the emulsion on the  plate's surface.
- Where the light is blocked, the emulsion remains water soluble and is washed away immediately.
The image is cleared after it has been exposed on the plate and developed in water, using a soft brush.

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Video Installation with single-channel video, colour, sound; table; chairs; monitor; birth certificates

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Cornered is a video-installation where the artists canalizes her own ideals about moral, social and political complexities of racial determination.

The artwork it is positioned in a corner with behind a upturned table as a defence, with her father’s two birth certificates—one that identifies him as white, the other as black. While the artist speaks through a video directly to the viewer.

This conceptual piece inspires me on how art can be a tool of communication, to address issues of race, class gender and identity, and think about how the gallery space can be a space of inclusion.

It reflects how misogyny, racism and oppression controlled the main institutions of our Society, being this the key elements for my project.

The video draws the viewer’s attention to their own biases and beliefs.

Piper is having a conversation about race and she uses the television and the gallery as a metaphor for conversation.
Cornered is configured or highlighted in a way that represents an architecture of power, by the way the artwork is protecting itself for exposing the artist’s truth.

Her broader critique of social and culturally entrenched institutions is underlined by this subtle and conscious orchestration of space.

- Since my project consists in different artistic elements, an installation can be an engaging approach to have all my pieces together to create a narrative and connect the viewers to it.

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Clio [Cibachrome print] Manchester: Touchstones Gallery.

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Zabat photographic series (1989) depicts nine contemporary Black women who represent mythological Greek Muses. Along with the portraits, the artist also wrote poems that tell the stories of real or imagined historical women.

The series uses an allegorical mode of representation that takes advantage of historical precedent, the artist explores a diaspora aesthetics of ‘gathering and re-using’ and the ‘allegorical impulse’ as rescuing from historical oblivion what threatens to disappear.

Fusing African and Western elements, each muse in Zabat series embodies a different area of creativity. Conventionally presented in history of Western art as white women, they are portrayed by contemporary black women writers, activists, musicians and artists.

Zabat is a critical revision of colonial heritage, a reflection on the European gaze on Black bodies in the past, and a creative engagement with images and visual patterns that impact contemporary neo-colonial culture.

It also reveals how Black feminist readings revive the Black figure and reveal her presence, emerging as a challenge to the invisibility of Black women in the canon of what galleries and exhibition spaces portray.

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Maud Sulter critically investigated the legacies of colonialism in visual culture and museum collecting, histories of persecution and injustice, black women’s creativity and the long-standing cultural connections between Africa and Europe.

Maud Sulter strove to place black women at the centre of an art history that had excluded them and in this poem she is celebrate the Blackness and the woman's creativity.

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Joyce’s Front Room, 2021. Installation comprising found objects, home furnishings and wood

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Michael McMillan is a London based artist, playwright and scholar of Vincentian migrant heritage has made several versions of this specific installation.

Each of them is based on the migrant experiences and heritage of African-Caribbean families in the UK in the mid-20th century.

McMillan's installation is inspired by the front room of a politically active single woman from the 1970s.

Each of the objects, from doilies to wall hangings, has been chosen with a specific time and character in mind. These are supplemented by larger items, such as soft and large furnishings, furniture, fixtures, and appliances. These items speak to migration, religion, status, identity, as well as transitioning from the colonial to the postcolonial eras.

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Vivien Leigh and Hattie McDaniel in Gone with the Wind, 1939

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‘Why should I complain about making $700 a week playing a maid? If I didn’t I’d be making $7 a week actually being one.’

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The videos were created with different sources, such as from video websites and archives showing Black women in their daily routines, historical moments, and black feminist lectures.

Additionally, it contains several excerpts from Blaxploitation films, where some show how stereotypes of black communities affected the image of black women.

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https://www.youtube.com/watch?v=R96jRnBYymU - nina simone
https://www.youtube.com/watch?v=ur4VbzDQnvw  - whitney houston
https://www.youtube.com/watch?v=IKK5aMeqGxw  - whitney houston brazil
https://www.youtube.com/watch?v=fWTjDnPRE_s   -  whitney houston saving all my love
https://www.youtube.com/watch?v=1GUmxnYheK0 -- ella fitzgerald
https://www.youtube.com/watch?v=zQBwC_-BU1Y   - nina simone - live
https://www.youtube.com/watch?v=iuHfX-dX4-I - Democratic Womanism
https://www.youtube.com/watch?v=-wvTvECWS70  - womens group kenya

https://www.youtube.com/watch?v=mbXRqbPVhs4 -- PUBLICO -=angola

https://www.youtube.com/watch?v=-lLnOPUrO0M - dance
https://www.youtube.com/watch?v=sTNZMvVKCpM  - cabo verde
https://www.youtube.com/watch?v=08pCoYCSlAw   - skating
https://www.youtube.com/watch?v=TNZ_4lczt5A   - mortu nega
https://www.youtube.com/watch?v=4XdQypZC3qs&t=747s - yonta

https://www.youtube.com/watch?v=iCA7cUagDs0 - po di sangui

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14minutes and 19seconds video- colour and sound

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The combination of archive footage, photography, and animation helps to highlight the historical context while also incorporating contemporary perspectives.

It draws inspiration from Stuart Hall's theory of representation and media, specifically focusing on the representation of black women as maids, cleaners, and servants, and the impact this has on their image.

By exploring this theme, the video delves into the ways in which black women have been historically and persistently portrayed in media, often in subservient roles.

The video offers a visually and intellectually stimulating experience, utilizing digital elements and a dialectic image aesthetic to convey the ongoing discrimination faced by Black women.

The conflicting images presented in the video serve as a catalyst for contemplation, challenging viewers to confront and question the systemic discrimination and oppression faced by Black women. The use of sound and music further enhances the emotional impact, contributing to a multisensory experience that fosters empathy and understanding.

Through this experimental video, viewers are encouraged to critically examine the shared experiences of Black women within the African diaspora and to consider the broader social, cultural, and historical factors that shape their lives. It provides a platform for amplifying their voices and shedding light on their resilience, strength, and unique contributions.

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Having an exclusive space to be seen, the solar plates were fixed to the lateral walls of the installation.

The combination of the historical reference to carte de visite and the use of wood pieces provides a powerful juxtaposition. It highlights the tension between the commercialization of these images and the complex, multifaceted identities and experiences of the black women depicted. This contrast challenges the viewer to consider the profound impact of such representations and to question the ways in which black women have been objectified and commodified throughout history.

By featuring photos of unknown black women, the installation draws attention to the countless untold stories and silenced voices of black women throughout history. It emphasizes the need to shed light on their experiences and struggles that have often been marginalized or erased from historical records.

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This room is a space of celebration and empowerment. It celebrates the breadth and diversity of Black women from Africa diaspora.

I asked women from my family and circle of friends to share their insights into being Black and woman today, showing how they represent and define themselves as being members of Society. Their participation raised complex questions around Black identity, as well as being a woman in a Society that show difficult to show them opportunities, interweaving a portrait of their existence's past, present and future.

The women are their own sitters, reclaiming their space and right of presence and enabling a space of sharing their voices, being examples of a  gender group with a shared culture, where their presence are being acknowledged and celebrated equally.

The inclusion of QR codes with videos and portraits adds interactivity, allowing viewers to hear the voices of these women and deepen their understanding of their experiences.

Finally, it creates a powerful symbol of representation and inclusivity through the participation of these women in the project.

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more decoration of the room

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Details of the table

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Finally, I arranged the furniture in the room to create a more realistic atmosphere.

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Viewers are also able to interact with QR codes on the shelf, table and wall to watch videos showing these women's experiences and poems they wrote.

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The vinyl had the correct measures to fit in the both walls and floor of the third room

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Vinyl with wood texture was not applied to the floor, but positioned to appear as if it was. The overall effect was one of realism and intimacy.

The yellow deco wallpaper and wood effect vinyl contribute to the immersive environment, evoking a sense of authenticity.

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These chosen designs were printed on vinyl in the Wet Studios of Surface and Textiles

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Final vinyl application.

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Having space in the studio for this room, I started to glue the vinyl to the walls with the wallpaper I chose to decorate it.

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These were finally framed to be part of the decoration of this room

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Other images were also manipulated through Photoshop and printed on paper

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This shelf could have more objects and also carry some of the framed portraits that I did before

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I also constructed a shelf that would have other decoration related to a dining room

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Final table set

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A different towel, a cutlery, napkins, and a cup are set on the table.

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Setting the table with the plates and glasses

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The table contain two empty plate in each corner of the tables, so that the viewers can make part of the table and of the conversation set between these women.

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Setting the table with African textiles as a towel

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The choice of a dining room setting as the backdrop for the installation creates a shared space between the viewer and the subjects of the artwork.

It evokes a sense of intimacy and familiarity, inviting viewers to reflect on their own connections to food, gathering, and shared experiences.

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The table contains the plates with the transferred Black women faces and other decorations that create the illusion of a real room within the studio. The other decorations, such as the furniture and plants, help to add to the realism of the scene and provide a more immersive experience.

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Filling the space with numerous screen prints of the same woman can creates a visually striking environment to confront the viewer. This technique of repetition helps to emphasize the woman's image, making it more memorable and powerful. It is also a way to draw attention to the woman and her story, allowing the viewer to connect with the woman on a deeper level.

The repetition and abundance of one image symbolize the collective struggles and endurance of Black women.
As viewers navigate the space and observe the damaged prints, they are confronted with the harsh realities and struggles faced by black women. The intentional alteration of the artwork creates a visceral response, evoking empathy and encouraging viewers to reflect on their own role in perpetuating or challenging these injustices.

The repetition of the woman's image makes it the most prominent element in the space and is meant to highlight her presence and power. It is a way to communicate the strength and resilience of Black women, and the idea that they can and will continue to push through any obstacle or challenge they encounter.

It prompts viewers to reflect on the dehumanizing treatment faced by black women during the colonisation period and beyond. The space encourages people to recognise and celebrate black women's contributions to society.

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https://vimeo.com/823183661?share=copy

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https://vimeo.com/823184394?share=copy

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https://vimeo.com/823184002?share=copy

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"Beauty and Care"

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"Safety and Love"

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"Patience and Tolerance"

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"Strength, Power and Bravery"

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Installation with prints and "Strength, Power and Bravery" QR code video

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The installation incorporates QR codes linking to videos sharing the experiences and perspectives of black women, enhancing interactivity and education.

The use of African Adinkra symbols in the videos adds cultural and symbolic depth, connecting to the heritage and traditions of black women.

The symbols represent specific ideas and emotions, strengthening the visual language that is presented in the corresponding videos.

They serve as a bridge between past and present, honouring ancestral roots and affirming the relevance of African traditions.

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Screen-Print Installation on Studio Space

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Screen-Print Installation on Studio Space

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Four prints were previously framed to carry a message and stand out from the rest.

Although, after feedback from my tutors, they suggested to leave the prints without the frame, since it could lead to other interpretations and the principal concept not be understood.
I decided to take the frames off. This way, the prints could be seen as one instead of separate pieces.

The message I was trying to give is now more evident, and the aesthetic value of the prints has been improved.

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The final installation is a 6.6m x 2.4m rectangular form, which the first and last spaces (Room 1 and Room 3) are two L shapes both similarly with 2.4m x 2.4m, and the space between these two with 1,8m x 2.4m (Room 2).

There should be an ample room for visitors to navigate and engage with the artwork without feeling constrained.