Identity, Culture and Heritage: discover the artists telling their stories through art
Ibiye Camp is a South London Artist who paints portraits of people who inspires her onto wearable artwork. She says her interests come from exploring her identity, landscape and popular culture. ‘Such a Fan’ is a series which combines fan and selfie culture with the likes of her main muse, Rihanna, and historical figures who remain dominant in black culture such as Rosa Parks, Angela Davis and Jospehine Baker.
Another piece of work she’s created from her guilty pleasures of pop culture and vampire series is her vampire comic ‘OLOKO AMA’ which means ‘strange stories’ in Kalabari, a language spoken in a region of Nigeria.
It’s clear to see Camp’s work is inspired by her passions, interests and explorations of identity through the different creations of her work: http://cargocollective.com
Also known as Àsìkò, he is a London based Nigerian visual artist who expresses his ideas through photography. His work is constructed in the narrative which sits between fantasy and reality as a response to his experiences of identity, culture and heritage.
He currently creates work in both London and Nigeria and his most recent project named Adorn, an ongoing set of images exploring femininity, African culture and identity was recently exhibited at The Gallery of African Art in London and made up his first solo show at Rele Gallery in Nigeria.
Apart from Gallery and Exhibition work Ade also creates portraiture work for clients in the Fashion, Entertainment and Music Industry.
Neequaye Dreph Dsane
London based British Ghanaian artist Neequaye Dreph Dsane is best known for his large-scale portrait paintings known as ‘street art’.
Dreph presents an alternative black British narrative through his work by accompanying backstories as a tribute to living unsung heroes and heroines larger than life and in technicolour in our public spaces.
His latest series, You Are Enough, are a collection of large murals depicting women of African and Caribbean decent which aims to shine a light on and empower black women.
Through his audio installations Ogboh explores how private, public, and collective memories and histories are translated, transformed and encoded into sound and sonority. These works contemplate how sound captures existential relationships, frames our understanding of the world, and provides a context in which to ask critical questions around immigration, globalization and post colonialism.
Earlier this year Emeka Ogboh brought his internationally recognized sound art to the Smithsonian National Museum of African Art in the new work Market Symphony.
Market Symphony draws on the commercial cries and urban ambiance of Balogun, a sprawling open-air market in Lagos. Ogboh’s “soundscape” lets visitors experience the distinctive sounds of this vibrant Nigerian metropolis and the traders who drive its daily economy, transporting us from the hush of the gallery to a commercial hive approximately 5,407 miles away. Ogboh considers sound art akin to sculpture as it shapes our experience of a space, even with our eyes closed. For Ogboh, the intense colour and cadences of Balogun are emblematic of both his home and the vibrance of urban spaces. His work focuses on the history of Lagos and directs attention to the power of hearing.
His Work: https://youtu.be/j7yS6OTYROM
Gonçalo Mabunda is interested in the collective memory of his country, Mozambique, which has only recently emerged from a long and terrible civil war. He works with arms recovered in 1992 for his art, at the end of a sixteen-year conflict that divided the region.
His sculptures are all given anthropomorphic forms to AK47s, rocket launchers, pistols and other objects of destruction. While the masks could be said to draw on a local history of traditional African art, Mabunda’s work takes on a striking Modernist edge.
Deactivated weapons of war carry strong political connotations, yet the beautiful objects he creates also convey a positive reflection on the transformative power of art and the resilience and creativity of African civilian societies.
Mabunda is most well-known for his thrones. According to the artist, the thrones function as attributes of power, tribal symbols and traditional pieces of ethnic African art. It is said that they are without a doubt an ironic way of commenting on his childhood experience of violence and absurdity and the civil war in Mozambique that isolated his country for such a long time.