I first fell in love with Lafawndah at The Honey Colony, her voice intoxicating, her presence mouth-watering. Harmonising with the other Honeys: Elheist, Tirzah, Kelsey Lu and Bonnie Banane – Lafawndah is no stranger to collaboration.
I first fell in love with Lafawndah at The Honey Colony, her voice intoxicating, her presence mouth-watering. Harmonising with the other Honeys: Elheist, Tirzah, Kelsey Lu and Bonnie Banane – Lafawndah is no stranger to collaboration.
Sharper than Razor Blades is artist Alexander James’ most recent body of work – and unlike its morose title, explores our current fixation on self-identifying with a playful nostalgia.
The Laundry’s third exhibition NOM is an exploration of food, looking beyond the ingested product to the roots, it investigates our individualised and collective taste for food, for cultures, for environments, through a diasporic lens.
Daisy Maybe is the singer-songwriter who is about to take over your winter nights and rainy Ubers with her debut single, ‘Riverbed’, a nostalgic anthem of all our once-upon-a-time infatuations.
It is silence that breeds pain. It is silence that is the biggest killer. And silence that HIM + HIS is rebuking. In its last day of crowdfunding, HIM + HIS, an anthology of visual and written contributions exploring the strengths and weaknesses of men and mental health, needs your help to get published.
‘Sayang’, Azura Lovisa’s latest exhibition counters the hackneyed clichés and the appropriation of cultures by occupying the imagined space of Orientalism.
Shygirl is the allusive 25-year-old musician and DJ whose hard-core ‘pep talks’ are fast becoming London’s club anthems – her music is shy, bossy, a rude ‘acquired taste.’
Amsterdam based clothing label, Daily Paper's SS18 campaign, “Transcend borders” expels all notions of restriction, rather depicting a futuristic freedom, travel symbolizes freedom – an expression of agency and the potential of opportunity.
Cameroonian photographer Jacob Nzudie documented a seismic shift in culture and class, his Supermarché series reminiscent of a catalogue of newfound urbanism - the excitement of the Cameroonian young as they revel in a new capitalist fantasy of consumption; artificial glory is the goal, packaged happiness the craving.
Malian photographer Malick Sidibé’s works epitomized the resilient yet carefree semblance of the Bamako youth, revealing the flamboyant nonchalance of a country who had too long been under the reigns of a colonial dominance that pressed heavily on the freedom of African expression, creation and spirit.
Nothing is straightforward for @stephen.tayo and it is precisely this straying nature that makes his work so beautiful, so raw, so impromptu.
American photographer Deana Lawson’s work faithfully dissects the stereotypes of black aesthetics, focusing on the performance of the individual; the intimacy within a singular moment, a snapshot into a mind and a life, where a stranger becomes ‘family’.
Nigerian photographer, Solomon Osagie Alonge allowed for a new expression in the court; scenes of colonial defeat were replaced with a belated yet restorative prowess, personal integrity and power were visualised in each image, initiating a new narrative of cultural and national pride for Nigeria.
Wait is the self-published book by artist and model Wilson Oryema. Simply put – it is ‘a book about consumption’, a book of short poems and stories that can be read as a somewhat manual – a witty moral code for our ever consuming, ever impatient society.
Burkinabe photographer Sory Sanlé’s works declare a nostalgia before their time, a want for the possibility of anticipated hope and joy, of replacing the void of creativity amidst colonial formality, and creating an unspoiled narrative of cultural articulation.
African American artist Ellen Gallagher’s multilayered works are underwhelmingly shocking; the canon of advertising is transformed as the façade of the equality and diversity promised lingers unsettlingly, the uniformity of racial stereotypes continuing to burden the black body.
Haitian painter Philomé Obin’s works possess considerable depth, the illusion of unsophisticated figurative drawings simultaneously dictates a pain and an endurance; a joyous revolt, a hallelujah to the Haitian independence, an unvarnished disclosure of unchanging politics and poverty.
