Page 75 - Winter Issue

Textile art plays a central role in your practice, allowing you to incorporate both texture and history.
What drew you to textiles, and how do they enhance the stories you aim to tell?
The constraints and demands of my artistic practice led me to embrace textiles, a medium that feels intrinsically
connected to my Jamaican and African heritage. Textiles serve as a visual language that compensates for the lost mother
tongue of my ancestors, transforming history into a tactile narrative that bridges past and present.
Your recent exhibition, ‘Beyond the Bassline: 500 Years of Black British Music’, explored Black British
music through textiles. How does music influence your work, and what role does it play in your
storytelling?
The interplay between color and music captivates me, especially the harmonies within the Circle of 4ths and the color
wheel, which guide my tonal values and color palettes. Roots Reggae music, with its themes of resistance and
enlightenment, remains a vital influence, informing both the narrative and spirit of my work, as seen in ‘Beyond the
Bassline’ Textiles, a homage to the legacy of Sound Systems, musicians, and educators in Chapeltown.
How has your experience as a community artist and qualified teacher in Leeds influenced your practice
and connection to your audience?
I approach some of my works as visual lesson plans, an outlook that shapes my creative choices, especially when
conveying specific messages. For instance, in ‘The Globe Church Windows of No Return’, the imagery and narrative were
crafted with precision to engage and resonate with viewers, fostering connection and understanding.
With works in both private and public collections, what do you see as the role of your art in connecting
communities and preserving cultural narratives?
My art aspires to inspire, educate, and empower communities, nurturing a sense of unity and love. It serves to illuminate
untold stories and honor the contributions of pioneers from Chapeltown, Leeds, bridging cultures and histories through
visual and musical expression.
Your pieces often explore the history of Black liberation and the African diaspora. How do you approach
these powerful subjects and ensure they resonate with contemporary audiences?
My approach is grounded in authenticity, viewing my art as a vessel for the stories of the Black Diaspora. By tapping into
the collective consciousness, I strive to evoke empathy and create an enduring connection with audiences, ensuring these
narratives remain relevant and visible.
What advice would you give to artists interested in using their heritage and personal history to create
impactful community-centered art?
I encourage artists to remain steadfast in their journey, to believe in themselves, and to take pride in their heritage.
Embrace your history, empower your community, and let your voice resonate, paving the way for future generations of
artists dedicated to celebrating heritage and fostering connection.

Chapeltown Power
Mixed media textile, 1x1.5m, 2024
This mixed media textile artwork masterfully
blends embroidery, applique, fabric painting,
and collage techniques to explore the theme of
"Frontline Protest and Resistance" within the
Chapeltown community. It captures the vital
role of music and dance as tools for
empowerment, showcasing the vibrant dance
styles of 'Mara Ya Pili' and the impactful reggae
artists and bands associated with the
'Frontline' movement. Featuring renowned
reggae musicians such as Supa Yout, Exile
Intact Band, The Bedrocks, Matamba, and Wolf
Race Band, the artwork reflects how these
artists entertained, educated, and united the
community across diverse racial lines. Their
music provided a platform for discussing
Caribbean and African culture, and race
relations, and served as a powerful voice for
Black liberation, resistance, and Rastafari,
making significant contributions to Leeds’
reggae scene.

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