The opening of an exhibition of the work of three artists, Cedoux Kadima, Ricky Romain and Robert Golden. Painting, Film, Photography and Texts. It concerns the social and personal impact of alienation, torture and physical exile. All three artist’s lives have been affected by exile, are intimate with its consequences and have manifested this within their work. An exhibition relevant in many ways for our Time and our Humanity.
PREVIEW Wednesday 2nd December, 5pm – 8pm (see guidelines for a safe visit to the on the BAC web site – 30 people at any one time with masks)Please note to attend the conversation you must book in advance at the BAC’s Box Office. It’s free. Thank you.A CONVERSATION IN THE GALLERY 6.30 – 7.15 pm a free ticketed event for 24 people with Robert Golden, Cedoux Kadima and Ricky Romain hosted by Neil OliverNeil Oliver works with Initiatives for Change, Switzerland and lives in Frome. Neil is part of the core team of Tools for Changemakers. https://www.iofc.ch/neil-oliver
On the 10th December 2020 at BAC at 7.30pm there will be a Local and Global Music Concert celebrating the International Day of Human Rights in partnership with Bridport’s Rights Respecting Town and Bridport’s Refugee Support Campaign. All Exile events are ticketed, although most are free, please check with BAC.BAC’s Covid Safeguarding is immaculate and we thank all of the staff for their incredible work in making our events and the exhibition possible.(NB: Please note that if the Covid rules change, the dates may alter and the way of sharing the work might differ (film, online, Zoom, different dates, but the exhibition will go ahead.)Lots more information coming soon.
Alsop Gallery, Bridport Arts Centre, 9 South St. Bridport DT6 3NR – Private View Tursday 26th March 6-9pm – Exhibition Continues until 2nd May. Tuesday – Saturday, 10am-4pm
Exile is a place so many of us have entered or lived within, those who are excluded, those who are without homes and have fled war and conflict, those whose gender or disability exiles them from society and those who just live in that empty mental space of aloneness.
An exhibition of the work by Ricky Romain Robert Golden, Cedoux Kadima. You are invited to the Private View and opening of the exhibition at 6pm on Thursday 26th March 2020.
From 7pm – 9.00 there will be film, conversation and live music in the the theatre. RVSP to reserve a seat and make sure there is enough food and wine.
Please also make a note of a world music and human rights concert as part of Exile at BAC on April 30th. Guest musicians tbc. Tickets from BAC box office. Look forward to welcoming you to BAC.
Unfortunately due to the global pandemic the exhibition was postponed. We now have a provisional date for the exhibition to open which is 1st December 2020 – 2nd January 2021. With the musical performance on Human Rights Day on the 10th December.
EXILE – A Mind in Winter
Robert Golden on his contribution to the Exile project:
One day I was invited to the studio of a good friend and soul mate, the painter Ricky Romain. I wanted to see his new work: a large painting composed of 72 panels. Impressive yes, but much more.
I stood in front of his large work, my eyes darting from frame to frame and back. I encountered the Bauhaus, ancient Egyptian and Greek shards of mystery and culture.
There were dark clowns, dancing woman, wraiths and old people lamenting loss; there were elegant, sinister, murderous old men and a terrified child or two; there were ancient songs and cries and even moments of mirth.
Music and city sounds of late 20th century crowded night-time urban streets, with people begging to be allowed to live, with birds of prey and birds of hope winging through frames as if all the stories of humanity and all the suffering of humanity were swarming in constricted places, in railroad stations on the tracks to the camps, worker’s halls – dingy and forlorn with labourer’s fractured dreams, and there was alienation, broken promises, isolation and more alienation.
It told me there was a film asking to be freed from this painting. Now, this morning, 36 months later, I was thinking about EXILE, the project (exhibition, film, theatre performance) which has emerged from his painting.
It’s a departure for me in that it’s a piece of cinema drawn together as a work of imagination. Even the interviews were imagined as part of a reflection about Exile.
Early on I came across music I was certain would become cornerstones of particular scenes, only to discover those pieces would become stepping stones in the progression of the film’s atmosphere and sensibilities and were in the end, surpassed by other music, songs and noises.
What does this say except ‘trust the long emotion filled process’, a process that should be introduced to aspiring artists.
In the meantime both Ricky and I had begun to work occasionally with Cedoux Kadima, a Congolese photographer, film-maker, painter, writer and teacher in a pan European youth the arts program.
As the Exile ideas began to evolve we realised we wished to invite Cedoux into the project. To our delight he accepted and though all of the planning trust and mutual understanding developed.
I recently heard a quote by a Hungarian composer/Contessa from the late 1920’s. She had written that to be fully human one must encounter suffering. Whether self-imposed through one’s own sensibilities or imposed by others on individuals or groups, they are the toxins that nurture social and personal resistance. They act as homeopathic provocations – providing a little of what kills you to heal your wounds.
EXILE – is a whole, and I am for the moment at peace with it, knowing that I have managed to resist most of my didactic-ism, eroded by working with and listening to my two partners. I hope the exhibition will leave people in turmoil, a turmoil which may force them to ask themselves “what the hell am I signed up to in this economy? What am I allowing this state to do in my name?”
The collaborative event that I have received funding from and ‘Supported using public funding by the National Lottery through Arts Council England’,involves the exploration of marrying ‘sculpting with sound’ techniques with my improvisational Indian music discipline/practice. The two musicians who have joined me on this project are Jack Harman guitar and Jon Tyre electronics and is also the recording engineer. It has been recorded at Maker Heights in Cornwal Hopefully the production of vinyl recording and limited addition print will be available at some point in 2021
‘The Musicians Who Only Play and Sing for the Drowning‘ is a body of work that I have been developing since July 2018, when I moved into our new studio in Castlemount Victoria Place Axminster. Most of this work is on unstrethed canvas primed and with a number of coats of gesso applied. Much of my large work i had to take of the stretchers and roll up to store as the door to the studio and stairs made it impossible to keep them on their stretchers.This brought to my mind that I couldn’t carry on working the way I had before. It was to some extent traumatic but we are in traumatized times anyway. The title is drawn from the pain I feel as a visual artist, and musician about the migration of peoples, the loss of life and of dreams which have been sacrificed on route to a sometimes hostile destination.
I’ve been involved in migration research for nearly 25 years, in fact from the time when no-one was much interested in migration. Although I keep hearing that we need a ‘proper debate’ on migration, from my perspective I’ve spent a huge proportion of my adult life talking about very little else. You can read my stuff in lots of different places and most is available free online rather than in academic articles, which are often inaccessible (both practically and in other ways….). This blog is a way of me downloading thoughts and ideas about what’s going on in the world of migration which can’t be done in 140 characters on Twitter and which I don’t have time and/or inclination and/or expertise, to write about in a longer piece. Calling the blog ‘musings’ makes it sounds at least partly reflective but be prepared for the occasional unadulterated rant… View all posts by heavencrawley
“We all carry within us our places of exile,
our crimes and our ravages.
But our task is not to unleash them on the world,
it is to fight them in ourselves and in others.”
This is a time of exile from any redemption previously offered by the myths of heaven and the supposed forgivingness of God. Because of this, Camus said,“There is no sustainable criterion on which to base a judgement of value. One must act and live in terms of the future. All morality becomes provisional.”This provisional morality is a convenient way to change one’s view and actions from month to month. This in part is what creates life on earth as heavenly or hellish.
People suffer different forms of exile – from themselves as if a lost child fostered by emotional or mental fissures in their lives; from family, neighbours, work and society because of life’s pressures, or because economic / political factors disrupt everyday life, and at times because what they are capable of imagining may be contradictory to what their society considers acceptable. And of course because the most monstrous part of ourselves is capable of destroying our roots to our own land, forcing us into removing ourselves from our own identities.
EXILE is a project that will rely on metaphor and mood to transport the audience to a humane domain in which our shared humanity becomes paramount, where all the worst may be contemplated and all the best may be embraced.
THE EXILE PROJECT – Practicals
Three artists are developing a collaboration in film, paint, poetry, photography, music and dance devoted to human rights, and to telling a story of exile, refugees and freedom. It will be composed of the following:
A painting divided into 72 separate images. They relate the ancient story of 36 guardians of humanity and their 36 substitutes who exist because the world is never in balance unless all 72 exist at the same time. The guardians are there to right our wrongs and help the injured and sorrowful.
A film will be projected in the same space near the painting. It will be composed of:
-some of the painting’s squares;
-filmed interviews with local citizens and politicians about the state of the world;
-stills images of the local community living their lives
-interwoven with a choir of children singing an inspiring song about becoming the future
-and weaving through will be a newly choreographed modern dance performed for the film by a group of young people.
A third element will reveal why and how a particular person was forced into exile and became refugees. This piece will be a collaboration between the painter, the photographer/film-maker and a young Congolese painter and film-maker who is an asylum seeker in the UK. We believe a second film will emerge from the research and development the artists will engage in with each other, but the brief is open. This film will fill the third wall of the exhibition space.
There are, at the moment, no boundaries to this collaboration. The three lead artists are committed to helping the audience grasp the human realities of exile, migration and the oppression, which challenge our understanding of our shared humanity.
Ricky Romain and Robert Golden are experienced artists and teachers in their fields of work. Cedoux Kadima is a developing artist with a refined lightness of touch as a writer, painter and film-maker.
The three artists have already met and worked together informally under the auspices of a European project where they discovered each other’s mutual interests and respect. It is clear to them that they will be able to enrich each other’s storytelling and at times merge their work together into a greater whole.
This body of work was primarily created for the Exhibition ‘Marking Injustice- A painters way of Coping’ at the Alsop gallery at Bridport Arts Center in 2015 ‘Supported using public funding by the National Lottery through Arts Council England’.
In 2007 I was invited by Amnesty International UK to exhibit work in the newly refurbished building. This exhibition was to highlight World Refugee day 2007 The exhibition was entitled ‘Nurturing Hope Seeking Common Ground.’ and ran from 20th June-20th July 2007
Below are some of the photographs from the opening
In a time of uncertainty – how can the arts play their part?
Talk by director of REDRESS – Carla Ferstman
*REDRESS is a human rights organisation that helps torture survivors obtain justice and reparation, it also works with survivors to help restore their dignity and to make torturers accountable.
AT BRIDPORT ART CENTRE ON SATURDAY MAY 16TH AT 2PM
Using the exhibition of paintings by Ricky Romain entitled ‘Marking Injustice – a painters way of coping’ as a forum for discussion, Carla will also discuss with an invited panel of eminent human rights barristers how their work can inform artists and how they can in turn be inspired by the arts. There will also be time for audience participation.
In this file photographs and Images from the exhibition ‘Marking Injustice’-A Painters Way of Coping, Running from 17th April until 30th May 2015 at Bridport Arts Centre. www.bridport-arts.com Images are from the hanging, private View and at various times through out the exhibition. Photographs from the hanging by Robert Golden.
Photographs from the Private View by Robert Golden.
Photographs of exhibition space and Heather Fallows work by Robert Golden
From my mobile
Images from the workshop on 15th may. work from students and teachers from the Sir John Colfox Academy School.(15-05-2015)
More Images from Fridays workshop photographer David Powell.(15-05-2015)
Painter John Hubberd with the type writer.
Photograph of the panel from Saturdays (16-5-2015) discussion at the Allsop gallery. The eminent panel are from left to right Richard Harvey human rights barrister, Sarah Burton Campaigns Director of Greenpeace, Carla Ferstman Director of Redress, and Samantha Knights human rights barrister
Last evening of ‘Marking Injustice’ Sitar and tabla performance to celebrate the end of a the exhibition, myself on sitar and Jon Leadbeater on tabla. Photographs Robert Golden
Marking Injustice: A Painter’s Way of Coping
18 April – 30 May
By Amy Van Zyl (Aged 18)
Somewhat unsurprisingly, to feel the beating pulse of the world is both a blessing and a curse. This is perhaps the struggle that Ricky Romain’s paintings embody so poignantly, so beautifully. They contain, within the frenzied mark making and the depth of tone in the absence of colour, an exorbitant sense of loss, an incandescent grief. And yet we see faces, human faces, clutching at negative-images of loved ones; the lost voices. A world of “shadow men” which Ricky cannot forget and so he paints them, to render their lost abstraction tangible and to be shared. In this he is able to demonstrate an enormous sense of hope. His art; the shared acknowledgement of human existence, the extending of a hand to say that he too feels what it is to be. And so in the white-clad gallery room in the Art Centre’s Allsop Gallery, you can feel this human connection emanating from the luminous figures whose consciousness of their own mortality seems to live and breathe in their stark white frames; so that you cannot look away.
“Shadow men”; Heather’s words. Her work which too inhabits the Gallery, manages to beautifully draw out the essence of the exhibition’s humanity. She demonstrates a stunning capacity for translation of this poignantly sensory concept into intricate and beautiful sculptures, books and textiles. A very physically lyrical medium which so lovingly ensures the safe passage, the message’s translation.
Ricky and Heather achieve what few artists do, they manage to remove the audiences’ self-assertions so that the human soul can seamlessly access another. Often, under the harsh artificial light of a gallery, the beautiful art is rendered so that you merely see a reflection of yourself staring blankly back, expectantly. Literally and figuratively. And so, you smile back at it in the bizarre irony of being, in that moment, entirely blinded by one’s own inbuilt sense of self. In a room where this seems absent, where Ricky’s art has stripped away superficially complex forms and bleached away colour, in the moment, in the reflection of light to the retina and the unscrambling of reflected particles, only the human connection remains. So as to be no-longer entirely blinded by one’s own sense of self, Ricky has allowed that we might reach out to others, as mere humans, for just a moment.
email from Richard Harvey
Sarah and I sat down to watch Robert’s film the other night.
Absolutely stunning. The visual images, Heather’s powerful poems, the radiance of Ricky’s face when the words inside him pour out, stretching the canvass, stretching the imagination, insights into the process of composition, the broad daubs and the minute scratching, the colourfulness of black and white, the young long-haired Ricky, the iter-reiter-rereiterations stutter-patter-splatter-scatter-scuttering of whirled words rewording themselves and the world of Ricky’n’Heather’n’Heather’n’Ricky reworlding itself in whorling brash-strokes and sculpting scalpel-scrapels.
In the beginning was the image on the wall of the cave. Only later came the word and it called itself God because it was obsessed with defining and ruling and overruling. But the image and the music and the dance refuse definition. They offer us freedom if we dare. They don’t fall down and worship; they rise up and rebel.
Thank you both
Richard J. Harvey Formerly Lead Counsel, ICTY Currently Consultant to Legal Unit Greenpeace International, Amsterdam Mobile Number: +31-627440943 Chair, Garden Court International Garden Court Chambers 57-60 Lincoln’s Inn Fields London WC2A 3LJ
I would like my work to stand as a lasting declaration of my abhorrence towards torture and brutality, and for the act of buying my work to be a gesture of solidarity.
Working with this subject matter does not come easily, any more than attempting to describe it does, yet I feel I have to face the stark fact of its existence.
It is also hard to acknowledge that we are all living in a time when the cool epithet of ‘rendition’ cynically attempts to soften the realization of how ready the state can be to justify barbarism and inhuman suffering in the name of ‘security’.
Groups of displaced people have a particular resonance for me because I am Jewish.
I became concerned with the plight of asylum seekers and refugees when the tabloid press took up the issue and began to deliberately and regularly inflate the tension surrounding the subject of immigration and confuse the distinction between asylum seekers and migrant workers. I felt my sympathies being drawn to both groups for different reasons.
I was very much pre-occupied with the dilemma of where these people would go if they were refused entry, or leave to remain, in this country. It was as if we being encouraged to believe the problem would go away if these groups of people were refused entry. At this point anonymous representations of uprooted humanity began to wander onto my canvases and as I made space for them, their predicaments and their complex histories began to haunt me. I feel that I can work through my own obligations and manifest my empathy by resolving these issues visually.
The news media plays an important role in informing us about significant human rights issues. I represent this in my work by using the motif of film strips. I am also profoundly moved by the images of notice boards covered with countless photographs of ‘the disappeared’, they are faces that represent a desperate kind of iconography.
The bravery of political prisoners is beyond dispute and the courage of journalists who risk their own safety to report their stories is equally humbling. I would like my work to commemorate the early part of the 21st century by depicting the humanitarian dilemmas we all face at this time.
The tragic story of Daniel Pearl had a profound effect on me. What happened to him, and others like him, is epic subject matter that should be wrestled with in the same way that religious subjects inspired artists in earlier centuries.
This work attempts to develop the symbolic resonance of the filmstrip. It is used in a metaphorical way to represent the passing of time, and the suspension of events in time. These ‘pictures’ or momentary flashes of recollection, can become blurred when trying to recapture them clearly. To denote this ambiguity each image is abstracted and pared down, as if they are memories on the point of fading.
Many asylum seekers and migrant workers have to enter the country by hiding themselves in packing crates.
The necessary and desperate act of stowing away de-humanises and degrades each individual and yet this ‘human freight’ retains an element of dignity and courage that depicts the many life histories that bring people to this point of desperation.
Ricky Roman’s route to creativity was a path cut through the forest of his own life rather than the more conventional road of formal education. The thicket of his experience is full of contradictions. He found little to relate to at his London school, but at weekends he visited the British Museum and lost himself in the compelling world of the Ancient Egyptians, allowing his imagination to take flight with the winged mythological beings that inhabited the richly decorated artifacts there. And later when he found himself in the Museum of Modern Art (MOMA) in New York, with no particular predisposition towards painting, it was the artist of the Twentieth Century, and the Impressionist and the Post – Impressionist who spoke directly to him. The courage of their convictions, the sensuous joy of marks made for their own sake and the exciting possibilities of abstraction put his own life into context and made sense of the spaces within it. It was in this city at what seemed to be the furthest point from the natural world and from the Dorset and Devon countryside growing to love, where he came to the realization that it was through paint and paint alone that he could access the latent feelings that had previously had no form of expression outside his own world of dreams and imagination. A seed of possibility was sown here, prompting the realization that he might be able to give colour and shape to the experience of playing Indian Classical music which he had been disciplining himself to learn. Returning to England, he knew with absolute clarity that he was to become a painter. He forged a route for himself through the imagery of the countryside, through his Jewish identity, all the time accompanied by the Indian music and his sitar which gave melody to his thoughts. His journey continues into the unknown with all its frustrations and disappointments but with its promise of fulfillment also.
My sketchbooks often reveal how my ideas and pre-occupations are intrinsic to my mark-making. New thoughts interplay with old obsessions, thus creating dynamic challenges during the process of composition for larger work.
I am interested in the idea of puppets (outside the usual context of childrens’ story-telling) and all the associated metaphors of string-pulling, etc.
The effigies that we create may well reveal insights about our feelings of helplessness in the midst of global turmoil?
As all my figures are symbols of humanity, rather than portraits of actual people, they could all be considered to be puppets in that sense. Dwelling on the puppet motif helps me to express ideas of feudalism, as well as master/servant relationships, the vulnerability of trafficked peoples, and the manipulation of some fundamentalist religious teachers.
Big news! I’m delighted to announce that I’ve been awarded my first ever grant from Arts Council England for an exhibition at Bridport Arts Centre opening in six weeks’ time, with new paintings by me concerning human rights, new work by Heather Fallows and a new film about me and my work by Robert Golden.
We’re all keen to get people to participate in many ways and show how painting is still an inspiring art form that can highlight important issues and bring people together to discuss and debate.
‘Marking Injustice’: A Painter’s Way of Coping starts on Saturday, April 18.
I’m taking part in Carnival of Monsters 2014 – Festival of Contemporary Art Nottingham
Dates: 11th of October – 25th October 2014
From Carnival of Monsters’ publicity: “Following on from a year off, due to the tram works in Chilwell, we’re back again in 2014 and looking to showcase both East Midlands artists, as well as as those from further afield.
We would love you to be involved in any capacity, from exhibiting to invigilating, helping to set up or even just to spread the word.
“Our last festival in 2012 was an incredible experience with well over 30 artists exhibiting at Bartons in their vast industrial spaces. Over the two weeks we had coverage on TV, Radio, Newspapers and a huge turnout of people.
“This year we are looking to build on our reputation exhibiting contemporary art, sculpture, installations, and photography as well as incorporating music and events aimed at kids.
“Please drop us an email on email@example.com if you want any more info.”
Raising awareness of human rights and violation of those rights is an essential part of Amnesty International’s work, and visual art is a powerful way to achieve this.
This is why during 2013 the local Bournemouth, Poole and Christchurch Amnesty Group offered anyone an opportunity to show their support for the work of Amnesty by entering their artwork into an Open Exhibition, telling us what aspect of human rights has inspired them.
I have 2 paintings in this exhibition ‘Interrogation’ and ‘Manifesto for the Disappeared’. Both at Bournemouth Central Library.
Exhibition of paintings and works on paper at The Marle Gallery, Axminster, 1 June – 29 June 2013
Ricky Romain is an Internationally respected human rights artist whose work can be found in the collections of globally important institutions including Amnesty International and the United Nations, as well as many private collections around the world.
His work is widely exhibited, recently being shown at Tooks Chambers in London; the chambers of the leading human rights barrister Michael Mansfield QC.
His work is visually powerful, created far more from his emotional response to the world around him, than any literal recording of fact.
The paintings in this solo exhibition are thought-provoking, at times controversial, and always possessed by a deep sense of introspection and peace.
In this solo exhibition at The Marle, Romain’s work comes home to Axminster where the artist lives and works.
Article from the Western Morning News on Saturday 1, June.
A challenging new art exhibition highlighting human rights issues is now on display in West Lothian.
The free State of Change exhibition by acclaimed south west England-based artist, Ricky Romain, is on show at the Gallery in Linlithgow Burgh Halls until 21 April 2013.
Romain’s work, which features in the collections of the United Nations and Amnesty International, endeavors to create art that reflects the complexity of political conflict surrounding prominent human rights issues.
This powerful yet poignant exhibition features figurative, textural paintings focused on humanitarian challenges on a global scale, with themes such as migration, asylum seeking, dignity, courage and desperation.
Dave King, Executive councillor for culture and leisure, said: “The Gallery at Linlithgow Burgh Halls has shown a variety of interesting exhibitions since it opened, and State of Change by Ricky Romain is another fine example.
“I’d encourage local residents to take the chance to view his striking and challenging work for free while it is on their doorstep.”
The free exhibition is open from 9am to 5pm, Monday to Saturday, at Linlithgow Burgh Halls, The Cross, Linlithgow, EH49 7AH. It is also open until 9pm on Tuesdays and Thursdays, and from 11am to 5pm on Sundays.
A number of associated workshops and talks have been organised to coincide with the State of Change exhibition.
Hear artist Ricky Romain discuss his work and techniques on Thursday 21 March, from 6pm to 7pm. Join Ricky for an insightful talk about his work, the challenges of his chosen subject matter and his experiences working with humanitarian charities, followed by a short demonstration of his working technique. This event is free but booking in advance is essential and is suitable for those aged 16 and over.
The Interpreting the Human Form workshop will look at the portrayal of the human form in art, with specific focus given to the current exhibition by artist Ricky Romain. A dry medium drawing workshop will follow (charcoal, oil pastel and pencil), to help participants develop their own character studies, and explore ways to capture emotion, make a statement or tell a story. The workshop takes place on Sunday 24 March, 10am to 4pm, for those aged 14 and over. Tickets: £32 or £30 concession, includes all materials
The Gallery, The Venue, Linlithgow, Scotland. EH49 7AH
This exhibition features Ricky Romain’s figurative textural paintings focused on humanitarian challenges on a global scale. Migration, asylum seeking, dignity, courage and desperation all combine in this powerful yet poignant show that depicts the various sides of human nature.
The painting ‘What’s the point?’ (see Newsreel 1) has been shortlisted for the award and exhibition at Unit24 Gallery, 20 Great Guildford Street, London, SE1 0FD. Exhibition runs from Saturday 3rd November – Friday 9th November 2012
‘Keeping Quiet’: Town Mill, David West Gallery, Lyme Regis, 27 July – 16 August
Ricky Romain is a South West based artist. His imagery is semi-figurative and is inspired by Human Rights. He has exhibited nationally and internationally and has often been connected to unique artistic collaborations outside the usual gallery setting, which have cited his work in venues that reflect this theme, including:
The International Secretariat, headquarters of Amnesty International in London
Tooks Chambers the chambers of Michael Mansfield QC, London
The European Court of Human Rights building, Strasbourg
Matrix Chambers, London
His images have been used to inform academic publications and conferences, particularly in connection with asylum and immigration issues.
The Ricky Romain exhibition at the Town Mill in Lyme Regis is entitled ‘Keeping Quiet’. It explores questions of collective responsibility, ethical journalism and political accountability.
Private view: paintings and works on paper by Ricky Romain, Wednesday 23 May from 6-8pm at Matrix Chambers, Griffin building, Grays Inn, London, WC1R 5LN. Tel: 020 7404 3447
Ricky Romain uses human rights issues to inform his imagery. Much of his work focuses on the portrayal of male sensitivity and gender stereotyping in relation to human qualities, particularly when connected to conflict resolution. He often pays direct reference to asylum and immigration and how they connect to the collective memory.
In order to maintain the artist’s commitment to Bid (bail for immigration detainees), 10% of the sale of all work will be donated to this organisation.
Matrix Arts Festival to celebrate World Refugee Day 2012
20th June, 5.30 – 8.30pm
Matrix, Griffin Building, Gray’s Inn, London WC1R 5LN
Join the Matrix Immigration, Asylum and Free Movement group.
For a series of unique exhibitions and performances exploring the experiences of refuges and marginalised individuals from all over the world. Those taking part include;
Ricky Romain. Art Exhibition using Human Rights Issues to inform imagery.
Bail for Immigration Detainees. Biographical talk from a former client of this independent charity, which exists to challenge immigration detention in the UK
Dance United. Performances by this company using dance to unlock the potential of marginalised individuals.
Leila Segal. Public readings of this author’s powerful refugee-related writing
PhotoVoice. Photography displayed by this organisation bringing about positive social change through photographic training.
How long is Indefinite? The first documentary to expose detention without time limit exercised on immigrants in Britain.
Stop the Traffick. Artwork and film from this global movement of individuals, communities and organisations fighting to prevent the sale of people, protected the trafficked and prosecute the traffickers.
RSVP to Annie Bargione on firstname.lastname@example.org or +44(0)20 7404 3447
The first Platforma Festival will take place in London across the week beginning 28 November, 2011. Bringing together performers, artists and organisations from across the UK, the Festival will be a celebration of the arts by and about refugees and a chance to discuss different aspects of artistic practice.
Like the Platforma project as a whole, the Festival will embrace as many art forms as possible including music, dance, visual arts, live art, film, spoken word and literature.
The primary venue will be Rich Mix in East London, close to major public transport links including Liverpool Street station.
The main elements of the Festival will be:
2-3 December: Platforma Conference
Two unmissable days for people interested in the arts by and about refugees. The conference will be lively, informal and infused with performance of all kinds. Contributors will come from all parts of the UK, with the programme shaped by the Platforma network of Regional Hubs.
28 November – 4 December: Counterpoint
A multidisciplinary event of work by and about refugees at Club Row, Rochelle School in London (just up the road from Rich Mix) – We invited proposals from visual and performance artists who are interested in and working around the issues of exile, migration, displacement and related issues to comment on these themes through painting, sculpture, photography, performance, sound or film. The line-up will be announced by the end of September. a selection of my work will be shown at the event. www.platforma.org.uk
2 December: An evening of acoustic and spoken word performance
A chance to relax and enjoy the wonderful variety of performances by and about refugees. Featuring musicians, poets , writers and performers from across the UK. Programming details and ticket prices to be confirmed.
3 December: The Platforma Festival Music Night
The Platforma Festival will climax with a celebration of music by and about refugees. Guaranteed to get you up off your feet and dancing along to music from all around the world. Programming details and ticket prices to be confirmed.
‘Echoes and Traces’ at Musgrove Park Hospital, Taunton, 17 September – 20 November 2011.
The participating artists are:
There will also be a small group of works contributed by Alzheimer patients in association with the Alzheimer’s Society.
The exhibition focuses on artists working with Memory in the broadest sense, from documenting family histories to using objects to trigger things forgotten. There is a diverse use of media and imagery touching upon found objects and materials that evoke nostalgic emotions, personal stories, and images half remembered which reflect intense moments and experiences.
Memory is triggered by places, objects and events. Some of the imagery looks to the past while other imagery looks to the future. Each is intensely personal.
School workshops in association with the Pierian Centre, St Pauls, Bristol, to follow school visits to the ‘Anne Frank + You’ exhibition at Bristol Cathedral.
Four primary school workshops (in collaboration with partner Heather Fallows)
St Michael in the Mount Primary School – Year 5 children
Ashton Gate Primary School- Year 5 children
Changag Primary School – Year 6 children (2 days)
Work exhibited at the Pierian Centre as part of their Refugee Week exhibition.
‘Scared Memory Figures’. Image used for the cover for Human Security and Non-Citizens, edited by Alice Edwards and Carla Firstman, published by Cambridge University Press, 2010.
‘The Dweller’ – Image used on front cover of book of poetry by Clara Janes – Book of Dispositions, published by Delit Editions, (France).
Exhibition to launch new website in collaboration with photographer Damon Knight at White Space Gallery, Axminster, 28 June – 1 August, 2009.
Exhibition at a la lour d’ Yvrande in Douvres de la Deverande. Presentee par l’Assocition de Jumelage,and Axminster Town Twinning Group, 5 – 19 June, 2010.
‘The Role Of The Arts In Understanding The Experiences Of Migration’
Researchers at Swansea University’s Centre for Migration Policy Research (CMPR) are hosting the fourth in their series of one-day ESRC-funded seminars, which aim to increase understanding of the migrant experience.
The fourth seminar, entitled ‘The role of the arts in understanding experiences of migration’ will explore the use of the arts as a method for exploring migration and for enabling migrants to articulate and express their experiences. It will also explore the existence or otherwise of ‘immigrant art’ or ‘refugee art’ and the use of the arts as a mechanism for communicating ‘the migrant experience’ to a wider public and policy audience.
Date: Tuesday 23rd February 2010
Time: 9:30am – 5pm.
Venue: Singleton Abbey, Swansea University, Singleton Park, Swansea, SA2 8PP
Professor Heaven Crawley, Swansea University
Dr Maggie O’Neill, University of Durham
Dr Tom Cheeseman, Swansea University
Alex Rotas, Cardiff University
Ricky Romain, Artist
Margareta Kern, Artist
Susan Roberts, Bridging Arts
Kuljit Chuhan, Artist and Founder of Virtual Migrants
To receive information about future events in the CMPR series please contact Professor Heaven Crawley, School of the Environment and Society, Tel: +44 (0) 1792 602409, email: email@example.com.
A lawyer’s office may seem an odd place to launch an art exhibition but human rights workers, publishers and painters will mingle tonight with some of London’s top QCs at the opening of In the Absence of Justice, a year-long project examining civil liberties from a UK perspective. The project is a collaboration between human rights groups Amnesty International and Bail for Immigration Detainees (BID) and arts organisations Darlington Creative Enterprise and Triarchy Press.
Housed at Took’s Chambers, the London offices of leading human rights lawyers Richard Harvey and Michael Mansfield QC, the project kicks off with an exhibition of stark and haunting paintings by artist Ricky Romain, exploring the alienation and isolation of asylum seekers and refugees in the UK.
Romain says he hopes his work will challenge visitors to the project to question their own beliefs about human rights. “It’s not often that you get the art world and the legal profession coming together so it’s a great opportunity to get people thinking about their role in challenging human rights abuse,” he says.
Romain’s paintings were the initial inspiration for the project after Harvey saw the artist’s work at a gallery in Axminster, Devon. “I was just amazed by such a powerful artistic expression of issues that myself and my colleagues work on every day in the courts,” he says.
The exhibition will be followed by a series of lectures and art events that explore different facets of human rights, such as workplace bullying and corporate accountability.
Rosie Beckham, managing director at Triarchy Press, says basing the project at Took’s Chambers sends out a message that art has a part to play in the fight for justice. Triarchy Press has produced a book documenting the work of the project. It will go on sale on this year’s International Human Rights Day on Sunday to raise money for and awareness of the plight of refugees and detainees.