A Communion Rite re-configured elements of Euripides’s The Bacchae and Wole Soyinka’s A Communion Rite with contemporary publicly sourced images, this process opened up the narrative for representation for a more complex set of relationships.
Fly on the Wall, a mediation on being a disguised figure in cultural history, was born out of a concern that the decision to call one’s self black, when it is not physically apparent, is contemporarily cast as a moral issue rather than a matter of genetics of parentage.
The installation of the two portraits, The Pink Painting and Portrait Study of the Performance (Bausch) shown one at a time, within the mural depicts the dynamic cultivated by white imperialism. The first combination Diagram & Portrait Study of the Performance (Bausch) portrays an enduring response to provocation, intrusion and inspection. The Pink Portrait embodies a resistance to the obligation imposed on foreign individuals to explain their identity by focusing on society's need for this exposure.
As race exists insofar as people use it to identify themselves and others racially it is susceptible to changes in the ideological climate. Comedy provides insight into such relations, its presses upon the root of which is often fractious to discuss, it draws on the contradictions of social conventions and the release of laughter confirms a shared belief between the audience and the originator.
A Comedy of Race, an installation of six portraits and wall panels traces how characterisations of race in comedy performances have evolved. It contrasts seventeenth-century Spanish court’s jester performances with Felix Dexter’s comedy about the trials of being black in 1990’s Britain. This installation focuses on the dynamics between the creator, performer and the audience around the subject.