RickyRomain

Singulart

Really pleased to be represented by this International Arts Agency, we are loooking forward to a long and fruitful working relationship

https://www.singulart.com/en/artist/ricky-romain-22455?campaign_id=1044

The Musicians Who Only Play And Sing For The Drowning

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 experience  

  I am currently creating paintings  that explore an amalgamation of  loosely, referenced figurative imagery with  abstracted  ‘musical instrument’ shapes  I have entitled the series

 ‘The Musicians who only Play and Sing For the Drowning’

 I will be working with Jack Harman and Jon Tye recording at The Center For Sound, Maker Heights Cornwall, we will be using these images to inspire musical montages and mutually improvised soundscapes.

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‘The Musicians Who Only Play And Sing For The Drowning’ by Ricky Romain oil and Indian Ink on gesso on canvas 180cm x 129cm

Exile – A Mind In Winter

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 Musicians Who Only Play and Sing for the Drowning’

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.  

I will be working with Dr.Matthew Emmett and we will be using these images to inspire musical montages and mutually improvised soundscapes.

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.

‘the musicians who only sing and play for the drowning’ by Ricky Romain. Indian ink on gesso on canvas ‘finished’ 180cm x 129cm 2018/19

The Tuner for the Musicians who only Play and Sing For the Drowning 174cm x 120cm Oil and Indian Ink on gesso on canvas 2020
‘the musicians who only sing and play for the drowning’ by ricky Romain. Indian ink on gesso on canvas ‘finished’ 180cm x 69cm 2019
‘one of the musicians who only sing and play for the drowning’ by Ricky Romain. Indian ink on gesso on canvas ‘finished’ 160cm x 60cm 2019
‘The musicians who only play and sing for the drowning’ panel 8 by Ricky Romain oil and Indian ink on gesso on unstreched canvas. 175cm x 49cm.
The musicians who only play and sing for the drowning’ panel 8 by Ricky Romain oil and Indian ink on gesso on unstreched canvas. 168cm x 85cm.
The musicians who only play and sing for the drowning’ by Ricky Romain oil and Indian ind on gesso on canvas 225cm x 125cm
detail ‘The Musicians who only play and sing for the drowning’ by Ricky Romain Indian ink and Gesso on canvas
detail ‘The Musicians who only play and sing for the drowning’ by Ricky Romain Indian ink and oil on gesso on canvas
detail ‘The Musicians who only play and sing for the drowning’ by Ricky Romain. Indian ink and gesso on canvas
‘The Musicians Who Only Play and Sing For The Drowning’ by Ricky Romain no 10. 162cm x 122cm oil and Indian Ink on unstreched canvas 2020
detail from panel 10 by Ricky Romain
Detail from ‘The Musician Who Only Play and Sing For The Drowning’ panel 10 by Ricky Romain oil and Indian ink on gesso on canvas.
Detail from ‘The Musician Who Only Play and Sing For The Drowning’ panel 10 by Ricky Romain oil and Indian ink on gesso on canvas
Detail from ‘The Musician Who Only Play and Sing For The Drowning’ panel 10 by Ricky Romain oil and Indian ink on gesso on canvas
Clowns to the left of me, jokers to the right’ (title from Bob Dylan) painting by Ricky Romain. oil and Indin ink on gesso on canvas 25cm x 25cm. 2019. (private collection) From the body of work entitled ‘the musicians who only play and sing for the drowning,
‘The musicians who only play and sing for the drowning’ by Ricky Romain oil and Indian ink on canvas. 63cm x 49cm
One of the Musicians who Only Play for the Drowning’ by Ricky Romain. oil and Indian ink on gesso on unstrecthed canvas. 109cm x 68cm 2019
One of the Musicians who Only Play for the Drowning’ by Ricky Romain. oil and Indian ink on gesso on unstrecthed canvas. 109cm x 68cm 2019
One of the Musicians who Only Play for the Drowning’ by Ricky Romain. oil and Indian ink on gesso on unstrecthed canvas. 120cm x 48cm 2019
‘One of the Musicians who Only Play for the Drowning’ by Ricky Romain oil and Indian ink on gesso on unstrecthed canvas. 108cm x 58cm 2019
‘One of the Musicians who Only Play for the Drowning’ by Ricky Romain oil and Indian ink on gesso on unstrecthed canvas. 98cm x 62cm  2019
‘One of the Musicians who Only Play for the Drowning’ No 6 by Ricky Romain oil and Indian ink on gesso on unstrecthed canvas. 169cm x 62cm  2020
‘The Musicians who Only Play for the Drowning’ No 7 by Ricky Romain oil and Indian ink on gesso on unstrecthed canvas. 169cm x 62cm  2020
‘The Musicians who Only Play for the Drowning’ No 8 by Ricky Romain oil and Indian ink on gesso on unstrecthed canvas. 119cm x 36cm  2020
‘The Musicians who Only Play for the Drowning’ No 9 by Ricky Romain oil and Indian ink on gesso on unstrecthed canvas. 110cm x 60cm  2020
Praying Soul by Ricky Romain. Indian Ink on gesso on unstreched canvas 166cm x 122cm
‘The musicians who only play and sing for the drowning’ by Ricky Romain page from one of my sketch books.
‘The musicians who only play and sing for the drowning’ by Ricky Romain. page from one ov my sketch books (private collection)
‘The musicians who only play and sing for the drowning’ by Ricky Romain. page from one of my sketch books
‘The musicians who only play and sing for the drowning’ by Ricky Romain page from one of my sketch books
‘The musicians who only play and sing for the drowning’ by Ricky Romain page from one of my sketch books.
‘The musicians who only play and sing for the drowning’ by Ricky romain a page from one of my sketch books.

Migration, Displacement and Belonging at CTPSR

Blog From Prof. Heaven Crawley

Author: heavencrawley

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

In The Absence of Truth. Long Gallery Black Swan Arts 16th June-17th July 2017

Black Swan Poster  June 17th -July 16th
Black Swan Poster June 17th -July 16th

IN THE ABSENCE OF TRUTH

The tragic thing about being lied to is realising you are not respected enough to be worth

receiving the truth – in the absence of collective truth,  words have no meaning…..

An exhibition of paintings and works on paper by

Ricky Romain and small works by Heather Fallows at

THE LONG GALLERY BLACK SWAN ARTS, 2, Bridge St, Frome, Somerset BA11 1BB

Tel: 01373 473980

Saturday June 17th –  Sunday July 16th

You and your friends are invited to a Preview Evening at the above address on

FRIDAY 16TH JUNE 6-8PM

and to the additional events listed below;

Thursday 29th June 7 pm a discussion evening – including a talk by Alison Harvey, barrister and Legal Director and former General Secratary at Immigration Law Practitioners Association.

Alison has for decades been informing and engaging with Parliamentarians, lawyers and the public about refugee and immigration law and policy.

Free admission

Saturday 15th July  3.30-5pm ‘Raga- that which colours the mind’ Tickets £8/£5

An afternoon recital by Ricky Romain-sitar, and Steve Scott-tambura and bass guitar.

*All events are in The Long  Gallery

We really hope you can make it to one/ all of these events. It will be great to see you we will send further reminders nearer the times

Any further queries tel 01297 35807 RR mobile 07905 714783 or

‘Exile’ ‘A Mind In Winter’

“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.”

ALBERT CAMUS

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.

Lost Voices

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’.

Lost Voices panel 1 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. !53cm x 132cm
Lost Voices panel 1 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 153cm x 132cm
Lost Voices panel 2 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. !53cm x 132cm
Lost Voices panel 2 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 153cm x 132cm
Lost Voices panel 3 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. !53cm x 132cm
Lost Voices panel 3 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 153cm x 132cm
Lost Voices panel 4 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. !53cm x 132cm
Lost Voices panel 4 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 153cm x 132cm
Lost Voices panel 5 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. !53cm x 132cm
Lost Voices panel 5 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 153cm x 132cm
Lost Voices panel 6 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. !53cm x 132cm
Lost Voices panel 6 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 153cm x 132cm
Lost Voices panel 7 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. !53cm x 132cm
Lost Voices panel 7 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 153cm x 132cm
Lost Voices panel 8 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. !53cm x 132cm
Lost Voices panel 8 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 153cm x 132cm
Lost Voices panel 9 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. !53cm x 132cm
Lost Voices panel 9 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 153cm x 132cm
Lost Voices panel 10 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 195cm x 177cm
Lost Voices panel 10 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 195cm x 177cm
Lost Voices panel 11 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 195cm x 177cm
Lost Voices panel 11 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 195cm x 177cm
Lost Voices panel 12 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 160cm x 70cm
Lost Voices panel 12 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 160cm x 70cm
Lost Voices panel 13 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 160cm x 70cm
Lost Voices panel 13 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 160cm x 70cm
Lost Voices panel 14 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 190cm x 175cm
Lost Voices panel 14 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 190cm x 175cm
Lost Voices panel 15 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 193cm x 175cm
Lost Voices panel 15 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 193cm x 175cm
Lost Voices panel 16 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 153cm x 132cm
Lost Voices panel 16 by Ricky Romain. Oil and Indian Ink on Gesso on Canvas. 153cm x 132cm
Some of the times I have cried. by Ricky Romain. oil and Indian ink on gesso on canvas 196cm x 169cm
‘Some of the times I have cried’ panel 1. by Ricky Romain. oil and Indian ink on gesso on canvas 196cm x 169cm
Some of the times I have cried. Panel 2 by Ricky Romain oil and Indian ink on gesso on canvas 150cm x 150cm
Some of the times I have cried. Panel 2 by Ricky Romain oil and Indian ink on gesso on canvas 150cm x 150cm
Some of the times I have cried.Panel 3 by Ricky Romain oil and Indian ink on gesso on canvas. 175cm x 155cm
Some of the times I have cried.Panel 3 by Ricky Romain oil and Indian ink on gesso on canvas. 175cm x 155cm
Some of the times I have Cried panel 4 by Ricky Romain oil and Indian Ink on gesso on canvas. 167cm x 146cm
Some of the times I have Cried panel 4 by Ricky Romain oil and Indian Ink on gesso on canvas. 167cm x 146cm

Amnesty International UK

Amnesty 2007 exhibition. world Refugee day 2007
‘Nurturing Hope Seeking Common Ground.
20th June 2007-20th July 2007

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

Amnesty 2007 exhibition. world Refugee day 2007 'Nurturing Hope Seeking Common Ground. 20th June 2007-20th July 2007
Amnesty 2007 exhibition. world Refugee day 2007
‘Nurturing Hope Seeking Common Ground.
20th June 2007-20th July 2007
Amnesty 2007 exhibition. world Refugee day 2007 'Nurturing Hope Seeking Common Ground. 20th June 2007-20th July 2007
Amnesty 2007 exhibition. world Refugee day 2007
‘Nurturing Hope Seeking Common Ground.
20th June 2007-20th July 2007

Below are some of the photographs from the opening

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Alison Wallace.
Alison Wallace.
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Bridport ‘Democracy’ Project.

You are invited to a celebration of the opening of the first public event for the Democracy in Bridport Project at the BAC Cafe and Foyer

on September 15th between 6pm and 8pm.

The Time Line and Exhibition of portraits of local people are on display with quotes taken from filmed interviews about their views of democracy and life.

The Time Line was created by Dave Rickard, Rebecca Garner, children from various schools and Robert Golden.

With thanks to Bridport Banners for their help.

In  the early Spring David Powell worked with students at Sir John Colfox School looking at Democracy through music and song writing.

In May David ran a mock election to coincide with the national election and to help pupils become more aware of the meaning of Democracy.

In May Ricky Romain and Heather Fallows working with pupils through their exhibition, A Painter’s Way of Coping, looked at Human Rights and Democracy through Art.

There will be refreshments.

Looking forward to seeing you there.

re-Appearances. Film by Robert Golden

This film is based upon the work created by Ricky Romain for his exhibition, ‘Marking Injustice’- A Painters Way of Coping which was hosted at Bridport Arts Centre from the 17th April -30th May 2015.

This was a collaborative exhibition with artist and partner Heather Fallows and photographer and film maker Robert Golden. www.robertgoldenpictures.com

‘Art is such a profound way of changing society it can be done without violence. As you get older it becomes more important to offer something to society. I want to change hearts and minds’

The film and exhibition was made possible with the generous assistance of ARTS COUNCIL ENGAND

To watch the film click on the blue tab below ‘Watch on Vimeo’. RR

Human Rights Event

Detail from ‘Lost Voices’ panel 1

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.

BRIDPORT ART CENTRE – www.bridport-arts.com Tel; 01308-424204

‘Marking Injustice’ – A Painters Way of Coping, 2015

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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.

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Photographs from the Private View by Robert Golden.

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Photographs of exhibition space and Heather Fallows work by Robert Golden

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From my mobile

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Images from the workshop on 15th may. work from students and teachers from the Sir John Colfox Academy School.(15-05-2015)

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More Images from Fridays workshop photographer David Powell.(15-05-2015)

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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

© Justin Owen 2015 Searching for Justice at BAC
© Justin Owen 2015
Searching for Justice at BAC

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

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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

War and Torture

Interrogation by Ricky Romain (2005 oil on canvas 178cm x 176cm £5000)
Interrogation by Ricky Romain (2005 oil on canvas 178cm x 176cm)
The Conscious and Unconscious Embrace by Ricky Romain. (detail)
The Conscious and Unconscious Embrace by Ricky Romain. (detail)

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’.

Falling, by Ricky Romain (2001, oil and Indian ink on canvas, 198cm x 188cm, £3500).
Falling, by Ricky Romain (2001, oil and Indian ink on canvas, 198cm x 188cm,).
In the Absence of Justice, by Ricky Romain (2006, oil on canvas, 189cm x 156cm, £4500).
In the Absence of Justice, by Ricky Romain (2006, oil on canvas, 189cm x 156cm,).
On Route to No Man's Land, by Ricky Romain (2001, oil and Indian ink on canvas, 180cm x 140cm, £2000).
On Route to No Man’s Land, by Ricky Romain (2001, oil and Indian ink on canvas, 180cm x 140cm,).
Scared Memory Figures, by Ricky Romain (2007, oil on canvas, 186cm x 155cm, £4000).
Scared Memory Figures, by Ricky Romain (2007, oil on canvas, 186cm x 155cm,). Image used on cover of Human Security and Non-Citizens. Edited by Alice Edwards and Carla Ferstman. Cambridge University Press.
Targets, by Ricky Romain (2006, oil on canvas, 183cm x 155cm, £4000).
Targets, by Ricky Romain (2006, oil on canvas, 183cm x 155cm,).
Unsung Heroes, by Ricky Romain (2008, oil on canvas, 150cm x 102cm, £3000).
Unsung Heroes, by Ricky Romain (2008, oil on canvas, 150cm x 102cm,).
The Conscious and Unconscious Embrace by Ricky Romain (2006 oil on canvas 217cm x 117cm. £4750
The Conscious and Unconscious Embrace by Ricky Romain (2006 oil on canvas 217cm x 117cm.)
Manifesto for the Disappeared by Ricky Romain (2012 oil and Indian Ink on canvas. 160cm x 136cm £3000)
Manifesto for the Disappeared by Ricky Romain (2012 oil and Indian Ink on canvas. 160cm x 136cm)
A Poem for Franta Bass by Ricky Romain ( 2010/11 oil on canvas. 185cm x 160cm NFS.)
A Poem for Franta Bass by Ricky Romain ( 2010/11 oil on canvas. 185cm x 160cm NFS.)
'A broken heart in Exile' by Ricky Romain oil on canvas. 184cm x 140cm. 2008/16
‘A broken heart in Exile’ by Ricky Romain oil on canvas. 184cm x 140cm. 2008/16
Visas and Borderlines by Ricky Romain. (2004/5 oil on canvas 166cm x 89cm £2500)
Visas and Borderlines by Ricky Romain. (2004/5 oil on canvas 166cm x 89cm)
'Ghetto Theater' 2 oil by Ricky Romain. (Oil and Indian Ink on Canvas. 160cm x 143cm. 2008/17
‘Ghetto Theater’ 2 oil by Ricky Romain. (Oil and Indian Ink on Canvas. 160cm x 143cm. 2008/17
Ghetto Theater 2 detail by Ricky Romain.
Ghetto Theater 2 detail by Ricky Romain.
'In the land of the Blind' by Ricky Romain. oil in canvas 177cm x 107cm. 2008/17
‘In the land of the Blind’ by Ricky Romain. oil in canvas 177cm x 107cm. 2008/17
Hieroglyphics for the 21st Century oil and Indian ink on gesso on canvas. 190cm x 170cm 2017
Hieroglyphics for the 21st Century oil and Indian ink on gesso on canvas. 190cm x 170cm 2017
Hieroglyphics for the 21st Century by Ricky Romain oil and Indian ink on gesso on canvas detail
Hieroglyphics for the 21st Century by Ricky Romain oil and Indian ink on gesso on canvas detail
Hieroglyphics for the 21st Century by Ricky Romain oil and Indian ink on gesso on canvas detail
Hieroglyphics for the 21st Century by Ricky Romain oil and Indian ink on gesso on canvas detail
Hieroglyphics for the 21st Century by Ricky Romain oil and Indian ink on gesso on canvas detail
Hieroglyphics for the 21st Century by Ricky Romain oil and Indian ink on gesso on canvas detail
Hieroglyphics for the 21st Century by Ricky Romain oil and Indian ink on gesso on canvas detail
Hieroglyphics for the 21st Century by Ricky Romain oil and Indian ink on gesso on canvas detail
In Memory of Daniel Pearl by Ricky Romain 2002/3. 173cm x 132cm. (private collection)

Asylum

Gathered and Displaced by Ricky Romain. (2008/9 oil on canvas 148cm x 118cm £4500
Gathered and Displaced by Ricky Romain. (2008/9 oil on canvas 148cm x 118cm)

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.

Bid for Freedom, by Ricky Romain (2000-2002, oil on canvas, 133cm x126cm, private collection).
Bid for Freedom, by Ricky Romain (2000-2002, oil on canvas, 133cm x126cm, private collection).
Bid for Freedom by Ricky Romain. oil on canvas 2000/2 detail (private collection)
Bid for Freedom by Ricky Romain. oil on canvas 2000/2 detail (private collection)
Fast Track Family, by Ricky Romain (2004/2005, oil on canvas, 172cm x 108cm, £3500).
Fast Track Family, by Ricky Romain (2004/2005, oil on canvas, 172cm x 108cm,).
Gathered and Displaced, by Ricky Romain (2008/2009, oil on canvas, 148cm x 118cm, £3500).
Gathered and Displaced, by Ricky Romain (2008/2009, oil on canvas, 148cm x 118cm,).
Immigrant Dreams, by Ricky Romain (2000-2007, oil on canvas, 208cm x 180cm, £8250).
Immigrant Dreams, by Ricky Romain (2000-2007, oil on canvas, 208cm x 180cm,).
In Shadow, by Ricky Romain (2005-2007, oil on canvas, 161cm x 151cm, £3000).
In Shadow, by Ricky Romain (2005-2007, oil on canvas, 161cm x 151cm,).
Score for the Dispossessed, by Ricky Romain.
Score for the Dispossessed, by Ricky Romain. Score for the dispossessed (2009, oil on canvas, 174cm x 148cm,).
Keeping Quite by Ricky Romain. (2012 oil on canvas 110cm x110cm £2750
Keeping Quite by Ricky Romain. (2012 oil on canvas 110cm x110cm)
Slient group. by Ricky Romain. (2012 oil on canvas. 45cm x 45cm)
The-Interpreters by Ricky Romain (2013 oil and Indian ink on paper.-39cm-x-25cm Private Collection.
Targets by Ricky Romain (2011/12 oil on canvas !56cm x 130cm £3000.)
Targets by Ricky Romain (2011/12 oil on canvas !56cm x 130cm.)
Disapeared. by Ricky Romain (2008/11 oil on canvas. 125cm x 64cm.)
Point of Arrival by Ricky Romain ( 2001 oil on canvas 204cm x 165cm £3500)
Point of Arrival by Ricky Romain ( 2001 oil on canvas 204cm x 165cm)
The ones you hear about. The ones you don’t by Ricky Romain ( 2009 164cm x 148cm)
Coat Man by Ricky Romain (2005 oil on canvas 150cm x 60cm Private Collection)
Coat Man by Ricky Romain (2005 oil on canvas 150cm x 60cm Private Collection)
Coat Man 2 by Ricky Romain. ( 2004/5 oil on canvas. 150cm x 55cm. Private Collection)
Coat Man 2 by Ricky Romain. ( 2004/5 oil on canvas. 150cm x 55cm. Private Collection)
Displaced and Disfigured by Ricky Romain.(2000/5 oil on canvas 107cm x 106cm £1500)
Displaced and Disfigured by Ricky Romain.(2000/5 oil on canvas 107cm x 106cm)
Marked Men at the Ghetto Theatre. (homage to Bomberge) by Ricky Romain. oil and ink on canvas. 142cm x 105cm. 2011/16
Marked Men at the Ghetto Theater. (homage to Bomberg) by Ricky Romain. oil and ink on canvas. 142cm x 105cm. 2011/16
detail Marked Men at the Ghetto Theater . by Ricky Romain 2011/16
detail 1 Marked Men at the Ghetto Theater. by Ricky Romain oil and Indian Ink on canvas. 2011/16
detail Marked Men at the Ghetto Theater . by Ricky Romain 2011/16
detail 2 Marked Men at the Ghetto Theater. by Ricky Romain oil and Indian Ink on canvas. 2011/16
'A broken heart in Exile' by Ricky Romain oil on canvas. 184cm x 140cm. 2008/16
‘A broken heart in Exile’ by Ricky Romain oil on canvas. 184cm x 140cm. 2008/16
Silent Call from Whispering Generations, by Ricky Romain. oil on canvas. 195cm x 175cm.
Silent Call from Whispering Generations, by Ricky Romain. oil on canvas. 195cm x 175cm.

Flesh and Blood

The bonds between human beings can be directly associated with lineage and ancestry or they can be more widely linked to the kinship of shared ideologies.

Paternal sensitivities and fraternal loyalties, when deeply felt towards our own children, and to our own siblings, can heighten our awareness of the notion of ‘family’ in a much more global sense.

Within painting, a father and child is not used as a symbolic image as often as a mother and child; perhaps it taps too deeply into the issue of male vulnerability.

Very often the symbolic images of comradeship and brotherhood also tend to be associated with fighting physical or metaphorical battles, rather than occasionally celebrating it for its own sake.

A Lullaby and a Lament, by Ricky Romain (2007, oil and ink on paper, private collection).
A Lullaby and a Lament, by Ricky Romain (2007, oil and ink on paper, private collection).
Kaddish, by Ricky Romain (2004/2005, oil on canvas, 157cm x 152cm, not for sale).
Kaddish, by Ricky Romain (2004/2005, oil on canvas, 157cm x 152cm, not for sale).
Out of Place, by Ricky Romain (2002/2003, oil on canvas, 177cm x 146cm, £3500).
Out of Place, by Ricky Romain (2002/2003, oil on canvas, 177cm x 146cm.).
The Conscious and Unconscious Embrace, by Ricky Romain (2006, oil on canvas, 217cm x 117cm, £4750).
The Conscious and Unconscious Embrace, by Ricky Romain (2006, oil on canvas, 217cm x 117cm,).
The Dweller by Ricky Romain. ( 2003/4 oil on canvas Private Collection. Image used on front cover on 'Book Of Dispositions by Clara Janes. Published by Delit Editions.)
The Dweller by Ricky Romain. ( 2003/4 oil on canvas Private Collection. Image used on front cover of Livre d’Alienations precede de L’ile du Suicide by Clara Janes.Published by Delit Editions)
Facing East by Ricky Romain (2006 oil, ink and pastel on paper 28cm x 19cm. Private Collection)
Facing East by Ricky Romain (2006 oil, ink and pastel on paper 28cm x 19cm. Private Collection)
Rising to Birth with me as my own Brother. by Ricky Romain. (2007 oil ink and pastel on paper 28cm x 19cm Private Collection)
Rising to Birth with me as my own Brother. by Ricky Romain. (2007 oil ink and pastel on paper 28cm x 19cm Private Collection)
Mother and Son by Ricky Romain (2006/12 oil and Indian ink on canvas 155cm x 120cm £3000
Mother and Son by Ricky Romain (2006/12 oil and Indian ink on canvas 155cm x 120cm)
Open hearted, empty hands. by Ricky Romain (2010 oil on paper. 44cm x 34cm.)
Remember my friend. Remember. by Ricky Romain (2012 19cm x 19cm. Private Collection.)
Unanswered Questions. by Ricky Romain. (2012 oil and ink on paper Private Collection)
Contemplating early images. By Ricky Romain (2011 oil and ink on paper. 25cm x 10cm.)
‘Touching the impression of Blue.’ by Ricky Romain (2010 oil and ink on paper. Private Collection)
Father and Son by Ricky Romain. (2008 oil on canvas 40cm x 30cm. Private Collection)
Father and Son by Ricky Romain. (2008 oil on canvas 40cm x 30cm. Private Collection)

Newsreel 1

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.

Searching for Relatives, by Ricky Romain (1999/2003, oil on door, 139cm x 76cm, £1500).
Searching for Relatives, by Ricky Romain (1999/2003, oil on door, 139cm x 76cm,).
Passports and Visas, by Ricky Romain (2002/2003, oil on canvas, 205cm x 169cm, £3000).
Passports and Visas, by Ricky Romain (2002/2003, oil on canvas, 205cm x 169cm,).
Scapegoats 1, by Ricky Romain (2007, oil on canvas, 135cm x 77cm, £2500).
Scapegoats 1, by Ricky Romain (2007, oil on canvas, 135cm x 77cm,).
Democracy panel 1 by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy panel 1 by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy panel 1 (detail) by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy panel 1 (detail) by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy panel 1 detail) by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy panel 1 detail) by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy panel 1 (detail) by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy panel 1 (detail) by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy panel 2 by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy panel 2 by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy panel 2 (detail) by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy panel 2 (detail) by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy panel 2 (detail) by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy panel 2 (detail) by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy panel 3 by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy panel 3 by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy panel 3 (detail) by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy panel 3 (detail) by Ricky Romain oil and Indian ink on Gesso on Canvas. 240cm x 120cm
Democracy triptych by Ricky Romain at the Black Swan Long Gallery Frome oil and Indian ink on Gesso on Canvas. each panel 240cm x 120cm
Democracy triptych by Ricky Romain at the Black Swan Long Gallery Frome oil and Indian ink on Gesso on Canvas. each panel 240cm x 120cm
No Direction known by Ricky Romain. oil and Indian Ink on gesso on canvas 2016/17. 190cm x180cm
No Direction known by Ricky Romain. oil and Indian Ink on gesso on canvas 2016/17. 190cm x180cm
No Direction known detail by Ricky Romain. oil and Indian ink on gesso on canvas.
No Direction known detail by Ricky Romain. oil and Indian ink on gesso on canvas.
No Direction known detail 2 by Ricky Romain oil and Indian Ink on gesso on canvas.
No Direction known detail 2 by Ricky Romain oil and Indian Ink on gesso on canvas.
No Direction known detail by Ricky Romain. oil and Indian ink on gesso on canvas
No Direction known detail 3 by Ricky Romain. oil and Indian ink on gesso on canvas
No Direction known detail 4 by Ricky Romain. oil and Indian ink on gesso on canvas.
No Direction known detail 4 by Ricky Romain. oil and Indian ink on gesso on canvas.
Scapegoats 2, by Ricky Romain (2007, oil on canvas, 135cm x 107cm, £2000).
Scapegoats 2, by Ricky Romain (2007, oil on canvas, 135cm x 107cm,).
Newsreel Series. by Ricky Romain. (oil on canvas. 156cm x 130cm. 2007/15)
Newsreel Series. by Ricky Romain. (oil on canvas. 156cm x 130cm. 2007/15)
Newsreel Series by Ricky Romain- detail.
Newsreel Series by Ricky Romain- detail.2007/15
Newsreel Series by Ricky Romain.- detail 2007/15
Newsreel Series by Ricky Romain.- detail 2007/15
Newsreel Series 'Shattered' by Ricky Romain. (oil on canvas. 155cm x 110cm 2007)
Newsreel Series ‘Shattered’ by Ricky Romain. (oil on canvas. 155cm x 110cm 2007)
Newsreel Series 'Shattered' by Ricky Romain. ( detail oil on canvas. 2007)
Newsreel Series ‘Shattered’ by Ricky Romain. ( detail oil on canvas. 2007)
Newsreel Series 'Shattered' by Ricky Romain. (oil on canvas. detail 2007)
Newsreel Series ‘Shattered’ by Ricky Romain. (oil on canvas. detail 2007)
Sometimes it’s too late for Tenderness. by Ricky Romain (2010 oil on canvas 144cm x 143cm (Private Collection. )
Interpreter by Ricky Romain ( 2013 oil on canvas. 165cm x 65cm. Private Collection.)
Interpreter by Ricky Romain ( 2013 oil on canvas. 165cm x 65cm. (Private Collection.)
In Memory of Daniel Pearl by Ricky Romain (2002/3 oil on canvas.180cm x160cm Private Collection
In Memory of Daniel Pearl by Ricky Romain (2002/3 oil on canvas.180cm x160cm (Private Collection)
'In The Land Of The Blind' by Ricky Romain (2005 oil and ink on paper. 100cm x 60cm. Private Collection)
‘In The Land Of The Blind’ by Ricky Romain (2005 oil and ink on paper. 100cm x 60cm. (Private Collection)
Alienation by Ricky Romain. (2005 oil and ink on paper. 100cm x 60cm Private Collection)
Alienation by Ricky Romain. (2005 oil and ink on paper. 100cm x 60cm (Private Collection)
Alienation 2 by Ricky Romain ( 2007 oil and ink on paper. Private Collection)
Alienation 2 by Ricky Romain ( 2007 oil and ink on paper. (Private Collection)
Alienation 3 page from my sketch book by Ricky Romain. (2005 oil ink and pastel on paper. Private Collection)
Alienation 3 page from my sketch book by Ricky Romain. (2005 oil ink and pastel on paper. (Private Collection)
Alienation 4 by Ricky Romain (2006 ink and pastel on paper. Image used on back cover of BID (Bail for Immigration Detainees) 2006 Annual Report. Private Collection)
Alienation 4 by Ricky Romain (2006 ink and pastel on paper. Image used on back cover of BID (Bail for Immigration Detainees) 2006 Annual Report.( Private Collection)
'Long painting' by Ricky Romain. (oil on canvas 220cm x 58cm. 202/15
‘Long painting’ by Ricky Romain. (oil on canvas 220cm x 58cm. 2012/15)
Long Painting detail, 2012/15
Long Painting detail, 2012/15
'Long Painting' detail. 2012/15
‘Long Painting’ detail. 2012/15
'Long painting' detail 2012/15
‘Long painting’ detail 2012/15
'Long Painting' detail. 2012/15
‘Long Painting’ detail. 2012/15
In the darkness, by Ricky Romain oil on canvas. 150cm x 60cm
In the darkness, by Ricky Romain oil on canvas. 150cm x 60cm
'In the Darkness' re worked by Ricky Romain. oil on canvas. 150cm x 60cm. 2010/16
‘In the Darkness’ re worked by Ricky Romain. oil on canvas. 150cm x 60cm. 2010/16
Traffic and Traffickers by Ricky Romain. (Indian ink on gesso on unstreched canvas. 160cm x 136cm. 2017
Traffic and Traffickers by Ricky Romain. (Indian ink on gesso on unstreched canvas. 160cm x 136cm. 2017
detail Traffic and Traffickers by Ricky Romain. (Indian ink on gesso on unstreched canvas. 160cm x 136cm. 2017
detail Traffic and Traffickers by Ricky Romain. (Indian ink on gesso on unstreched canvas. 160cm x 136cm. 2017
detail Traffic and Traffickers by Ricky Romain. (Indian ink on gesso on unstreched canvas. 160cm x 136cm. 2017
detail Traffic and Traffickers by Ricky Romain. (Indian ink on gesso on unstreched canvas. 160cm x 136cm. 2017
detail Traffic and Traffickers by Ricky Romain. (Indian ink on gesso on unstreched canvas. 160cm x 136cm. 2017
detail Traffic and Traffickers by Ricky Romain. (Indian ink on gesso on unstreched canvas. 160cm x 136cm. 2017
detail Traffic and Traffickers by Ricky Romain. (Indian ink on gesso on unstreched canvas. 160cm x 136cm. 2017
detail Traffic and Traffickers by Ricky Romain. (Indian ink on gesso on unstreched canvas. 160cm x 136cm. 2017

Newsreel 2

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.

Whispering, by Ricky Romain (2007, oil on canvas, 165cm x 140cm., £4500).
Whispering, by Ricky Romain (2007, oil on canvas, 165cm x 140cm.,).
'Protecting' by Ricky Romain from the 2007 'Newsreel' Series. oil on canvas 168cm x 148cm
‘Protecting’ by Ricky Romain from the 2007 ‘Newsreel’ Series. oil on canvas 168cm x 148cm
Soft Hands, by Ricky Romain (2007, oil on canvas, 168cm x 155cm, £4500).
Soft Hands, by Ricky Romain (2007, oil on canvas, 168cm x 155cm,).
Group, by Ricky Romain (2008, oil on canvas, 175cm x 160cm, £4500).
Group, by Ricky Romain (2008, oil on canvas, 175cm x 160cm,).
Passing Resemblance in the Midst of Conflict, by Ricky Romain (2007, oil on canvas, 165cm x 107cm, £2500).
Passing Resemblance in the Midst of Conflict, by Ricky Romain (2007, oil on canvas, 165cm x 107cm,).
Contained Voices in Shadow, by Ricky Romain (2007, oil on canvas, 178cm x 150cm, £3750).
Contained Voices in Shadow, by Ricky Romain (2007, oil on canvas, 178cm x 150cm,).
 Without Power, Without Voice, by Ricky Romain (2005 oil on canvas 198cm x 178cm Private Collection)
Without Power, Without Voice, by Ricky Romain (2005 oil on canvas 198cm x 178cm Private Collection)
Passing Resemblance in the midst of conflict. by Ricky Romain. (2007 oil and Indian ink on canvas 165cm x 107cm £2500)
Passing Resemblance in the midst of conflict. by Ricky Romain. (2007 oil and Indian ink on canvas 165cm x 107cm)
'Point of Departure' by Ricky Romain. oil on canvas. 300cm x 200cm. 2001/2
‘Point of Departure’ by Ricky Romain. oil on canvas. 300cm x 200cm. 2001/2
'Point of Arrival' by Ricky Romain. oil on canvas. 2001/2. 240cm x 185cm
‘Point of Arrival’ by Ricky Romain. oil on canvas. 2001/2. 240cm x 185cm

Contained

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.

Container series number 1, by Ricky Romain (2003, oil and Indian ink on canvas, 180cm x 112cm, £1750).
Container series number 1, by Ricky Romain (2003, oil and Indian ink on canvas, 180cm x 112cm,).
Container series number 2, by Ricky Romain (2003, oil and Indian ink on canvas, 177cm x 96cm, £1750).
Container series number 2, by Ricky Romain (2003, oil and Indian ink on canvas, 177cm x 96cm,).
Container series number 3, by Ricky Romain (2003, oil and Indian ink on canvas, 177cm x 88cm, £1750).
Container series number 3, by Ricky Romain (2003, oil and Indian ink on canvas, 177cm x 88cm,).
Container series number 4, by Ricky Romain (2003, oil and Indian ink on canvas, 175cm x 113cm, £1750).
Container series number 4, by Ricky Romain (2003, oil and Indian ink on canvas, 175cm x 113cm,).
Container series number 7, by Ricky Romain (2008, oil and Indian ink on canvas, 144cm x 134cm, £2000).
Container series number 7, by Ricky Romain (2008, oil and Indian ink on canvas, 144cm x 134cm,).
Container Series no 6 by Ricky Romain. (2003 oil and Indian Ink on canvas. £178cm x 110cm £1750)
Container Series no 6 by Ricky Romain. (2003 oil and Indian Ink on canvas. £178cm x 110cm)
Container Series no 5 by Ricky Romain (2003 oil and Indian Ink on canvas. 180cm x 115cm £1750)
Container Series no 5 by Ricky Romain (2003 oil and Indian Ink on canvas. 180cm x 115cm)

Earlier Work (pre 1997)

Dance Around Each Other by Ricky Romain. oil on Canvas 180cm x180cm 1994
Dance Around Each Other by Ricky Romain. oil on Canvas 180cm x180cm 1994

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.

Heather Fallows (2000)

Reb Nachmans Umbrellas by Ricky Romain oil on canvas.300cm x200cm
Reb Nachmans Umbrellas by Ricky Romain oil on canvas.300cm x200cm 1985
Poets Garden (Seville) by Ricky Romain oil on canvas 150cm x 1140cm 1995
Poets Garden (Seville) by Ricky Romain oil on canvas 150cm x 1140cm 1995
Blue Boy by Ricky Romain. oil on canvs 250cm x 220cm 1985
Blue Boy by Ricky Romain. oil on canvs 250cm x 220cm 1985
'Such is the Beauty of the Night oil by Ricky Romain. oil on canvas 130cm x 120cm 1987 (private collection)
‘Such is the Beauty of the Night oil by Ricky Romain. oil on canvas 130cm x 120cm 1987 (private collection)
Restless moonlight and Broken Patterns by Ricky Romain. oil on canvas . 60cm x 40cm 1992 (private collection.
Restless moonlight and Broken Patterns by Ricky Romain. oil on canvas . 60cm x 40cm 1992 (private collection.
Shamanic Principle in the landscape by Ricky Romain oil on canvas 230cm x 200 cm 1994 (private collection)
Shamanic Principle in the landscape by Ricky Romain oil on canvas 230cm x 200 cm 1994 (private collection)
Forest Gazing and Tree Thinking by Ricky Romain. oil on canvas. 180cm x 180cm 1995 (private collection)
Forest Gazing and Tree Thinking by Ricky Romain. oil on canvas. 180cm x 180cm 1995 (private collection)
Me and Steve in Seville by Ricky Romain. oil and collage on canvas 1991/2 180cm x 150cm.
Me and Steve in Seville by Ricky Romain. oil and collage on canvas 1991/2 180cm x 150cm.
The Corn Horse Dancers by Ricky Romain. oil on canvas. 240cm x 230cm 1994
The Corn Horse Dancers by Ricky Romain. oil on canvas. 240cm x 230cm 1994
'Who we are caste dreams beyound us' by Ricky Romain oil on canvas. 187cm x 80cm 1987.
‘Who we are caste dreams beyound us’ by Ricky Romain oil on canvas. 187cm x 80cm 1987.(private collection)
Silent Hands by Ricky Romain. oil on canvas. 160cm x 75cm 1992
Silent Hands by Ricky Romain. oil on canvas. 160cm x 75cm 1992
Language of Birds and Forgotten Dreams by Ricky Romain. oil on canvads. 175cm x 73cm 1987-89
Language of Birds and Forgotten Dreams by Ricky Romain. oil on canvads. 175cm x 73cm 1987-89
Flooded in Blue by Ricky Romain. oil on canvas 200cm x180cm 1995/97
Flooded in Blue by Ricky Romain. oil on canvas 200cm x180cm 1995/97
Growing up in Dalwood. by Ricky Romain. oil on canvas.150cm x150cm 1985/6
Growing up in Dalwood. by Ricky Romain. oil on canvas.150cm x150cm 1985/6
Russian Poet by Ricky Romain. oil on canvas 165cm x140ocm 1988
Russian Poet by Ricky Romain. oil on canvas 165cm x140ocm 1988
Moving into new Space by Ricky Romain oil on canvas. 190cm x180cm 1996/97
Moving into new Space by Ricky Romain oil on canvas. 190cm x180cm 1996/97
You can have your doubts about love but you cant doubt hatred. (Night of broken glass) by Ricky Romain oil on canvas. 214cm x 150cm 1986
Self portrait by Ricky Romain oil on canvas 1985 (Private collection)

Sketch Books

A Good Day to Dance. by Ricky Romain (oil and ink on paper 46cm x 44cm Private Collection
Absurd Trilogy by Ricky Romain (oil on paper 19cm x 19cm 2011)

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.

‘I wanna hold your hand’ Indian ink and pastel on paper drawing by Ricky Romain
‘I wanna hold your hand’ no 2. Indian ink and pastel on paper drawing by Ricky Romain
‘Whispers and handshakes’ Indian ink and pastel on paper drawing by Ricky Romain
The Magician Indian Ink and pastel and oil pastel on paper 25cm x25cm by Ricky Romain
The sadness at Phils passing Indian Ink and oil bars on paper. 42cm x25cm by Ricky Romain
drawings during the ‘lockdown’ Indian ink on hand made paper by Ricky Romain
drawings during the ‘lockdown’ Indian ink on paper by Ricky Romain
drawings during the ‘lockdown’ Indian ink on canvas paper by Ricky Romain
‘I wanna hold your hand’ by Ricky Romain oil ind Indian ink on gesso on unsteched canvas

‘I Wanna Hold Your Hand’by Ricky Romain oil and Indian ink on unstreched canvas left panel


‘I Wanna Hold Your Hand’ by Ricky Romain oil and Indian ink on unstreched canvas right panel
Blake Echoes, by Ricky Romain (2010, pastel on paper, private collection).
Blake Echoes, by Ricky Romain. Pastel on paper (private collection).
Connected, by Ricky Romain (2009, pastel on paper, private collection).
Connected, by Ricky Romain (2009, pastel on paper, private collection).
working drawing
working drawing
Souls on Fire, by Ricky Romain (2006, pastel on paper, private collection).
Souls on Fire, by Ricky Romain (2006, pastel on paper, private collection).
Standing 1, by Ricky Romain (2008, pastel on paper, private collection).
Standing 1, by Ricky Romain (2008, pastel on paper, private collection).
Standing 2, by Ricky Romain (2008, pastel on paper, private collection).
Standing 2, by Ricky Romain (2008, pastel on paper, private collection).
Long Reach and the Daily Images, by Ricky Romain (2009, pastel on paper, private collection).
Long Reach and the Daily Images, by Ricky Romain (2009, pastel on paper, private collection).
Untitled, by Ricky Romain (2009, pastel on paper, private collection).
Untitled, by Ricky Romain (2009, pastel on paper, private collection).
The Old and Unremembered Human Heart, by Ricky Romain (2007, pastel on paper, private collection).
The Old and Unremembered Human Heart, by Ricky Romain (2007, pastel on paper, private collection).
Dancing with the green. by Ricky Romain. (oil and ink on paper 46cm x 44cm.)
Take Care of Your Heart by Ricky Roamin (oil on paper 46cm x 46cm Private Collection)
Drifting to the Centre by Ricky Romain (oil on paper. 46cm x 44cm)
Let-Them-Dream.-oil-on-paper-£350
Whispering in the Morning by Ricky Romain. (oil on paper 46cm x 46cm)
Seeking Direction by Ricky Romain (oil on paper 46cm x 44cm)
Keeping Quite by Ricky Romain (oil on paper 24cm x10cm)
Rhythm Stick by Ricky Romain (oil and ink on paper. 24cm 22cm £350)
Rhythm Stick by Ricky Romain (oil and ink on paper. 24cm 22cm) (private collection)
Here is where the silence is gathered up. by Ricky Romain (oil and pastel on paper 45cm x 45 cm)
‘Outsiders’ by Ricky Romain (oil on paprer 19cm x 19cm)
‘In the land of the blind. by Ricky Romain ( oil and ink on paper. 19cm x 19cm)
Dark Times by Ricky Romain oil on paper 19cm x 19cm (private collection)
Daily Images by Ricky Romain (oil on paper)
Invoking the Golem. by Ricky Romain ( oil on paper. 45cm x 44cm..)
Leaning to the left. by Ricky Romain (oil on paper. 69cm x 25cm Private Collection)
No Dwelling Place. by Ricky Romain (oil and ink on paper)
Uncertain Group. by Ricky Romain (oil and Indian ink on paper 19cm x 19cm.)
Unsure Group.by Ricky Romain (oil and Indian ink on paper. 19cm x 19cm. Private Collection.)
Puppets by Ricky Romain. (2008 oil, ink and pastel on paper. 20cm x 20cm Private Collection.)
Puppets by Ricky Romain. (2008 oil, ink and pastel on paper. 20cm x 20cm Private Collection.)
4 Travellers by Ricky Romain ( 2006. oil ink and pastel on paper. Private Collection)
4 Travellers by Ricky Romain ( 2006. oil ink and pastel on paper. Private Collection)
Lost in Transit 1 by Ricky Romain (oil and Indian ink on canvas, 67cm x 21 cm. Private Collection)
Lost in Transit 2. by Ricky Romain (oil and Indian ink on canvas. 67cm x 21cm. Private Collection)
Lost in Transit 3 by Ricky Romain (oil and Indian ink on canvas. 67cm x 25cm Private Collection)
Lost in Transit 4. by Ricky Romain (oil and Indian ink on canvas. Private Collection)
Leaning to the left. by Ricky Romain (oil on paper. 69cm x 25cm Private Collection)
Cut Outs by Ricky Romain Indian Ink and oil paint on gesso on canvas 2014
Cut Outs by Ricky Romain Indian Ink and oil paint on gesso on canvas 2014 (private collection)
Cut out 2 by Ricky Romain Indian ink on Gesso on canvas 2014
Cut out 2 by Ricky Romain Indian ink on Gesso on canvas 2014
Cut out 3 by Ricky Romain Indian ink on gesso on canvas 2013
Cut out 3 by Ricky Romain Indian ink on gesso on canvas 2013
Cut out 4 by Ricky Romain. Indian ink on Gesso on canvas 2013.
Cut out 4 by Ricky Romain. Indian ink on Gesso on canvas 2013.
Cut out 5 by Ricky Romain. Indian ink on gesso on canvas 2015
Cut out 5 by Ricky Romain. Indian ink on gesso on canvas 2015 private collection)
Cut out 6 by Ricky Romain. Indian ink on Gesso on Canvas 2015.
Cut out 6 by Ricky Romain. Indian ink on Gesso on Canvas 2015.
Tuning by Ricky Romain. oil and Indian Ink on gesso on unstreched canvas. 190cm x 150cm
Tuning by Ricky Romain. oil and Indian Ink on gesso on unstreched canvas. 190cm x 150cm
 detail Tuning by Ricky Romain. oil and Indian Ink on gesso on unstreched canvas.
detail Tuning by Ricky Romain. oil and Indian Ink on gesso on unstreched canvas.
detail 2 Tuning by Ricky Romain. oil and Indian Ink on gesso on unstreched canvas.
detail 2 Tuning by Ricky Romain. oil and Indian Ink on gesso on unstreched canvas.
detail 3 Tuning by Ricky Romain. oil and Indian Ink on gesso on unstreched canvas.
detail 3 Tuning by Ricky Romain. oil and Indian Ink on gesso on unstreched canvas.
drawing from ‘Lost Voices’ by Ricky Romain. Indian ink on gesso on canvas
drawing from ‘Lost Voices’ by Ricky Romain Indian ink on gesso on canvas
drawing from ‘Lost Voices’ by Ricky Romain Indian ink on gesso on canvas
drawing from ‘Lost Voices’ by Ricky Romain indian ink on gesso on canvas
From the meeting with Mathew Emmett by Ricky Romain page from one of my sketch books.
From the meeting with Mathew Emmett by Ricky Romain page from one of my sketch books.

‘Marking Injustice’: A Painter’s Way of Coping

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.

See you there!

Bridport Arts Centre (solo exhibition) www.bridport-arts.com

Dates: April 18 – 30 May, 2015

Tuesday 5 May, 7pm. Alongside the showing of a film about the artist by film maker Robert Golden www.robertgoldenpictures.com

Exhibiting at Carnival of Monsters 2014

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 info@carnivalofmonsters.co.uk if you want any more info.”

‘From Different Perspectives’: an exhibition in Sidmouth

‘From Different Perspectives’

An exhibition of my paintings and works on paper, and Michael Gordon-Lee’s sculptures and paintings.

Kennaway House, Sidmouth EX10 8NG. Tel: 01395-515551

Private View: 2 May, 6-30 -8.30pm.

There’s also an Artist discussion evening on Friday 9 May, 6-30 – 8-30pm.

Image used in Redress annual report

‘Conscious and Unconscious Embrace’ (detail 1): a Ricky Romain image used for the Redress Annual Report 2012-13.

Redress (www.redress.org) work with victims of torture around the world. Please check out their website.

Art for Human Rights

Art for Human Rights

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.

Ricky Romain’s work comes home to Axminster

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.

http://www.thisissomerset.co.uk/Ricky-s-art-puts-spotlight-world-s-oppressed/story-19154861-detail/story.html#axzz2V5y6h3Wo

Interpreting the Human Form

The workshop will begin with a short presentation looking 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). Developing your own character studies you will explore ways to capture emotion, make a statement or tell a story.

Sunday 24 March, 10am – 4pm. Age: 14+

Tickets: £32 or £30 concession, includes all materials.

Artist’s talk and demonstration with Ricky Romain

Join the artist in the gallery for an insightful talk about his work, the challenges of his chosen subject matter and his experiences working with humanitarian charities.

A short demonstration of his working technique will follow in the education room.

Thursday 21 March, 6 – 7pm. Age: 16+

Free, booking essential.

Paint and Print with artist Ricky Romain

In this oil-based workshop you will consider the work of exhibiting artist Ricky Romain to create multiple mono prints and paintings on small canvases.

Create poignant images use expressive mark making, exploring emotions and humanitarian issues through figures and forms.

Looking at the themes of Ricky’s work you will consider how to capture topics or challenges that are close to you.

Saturday 2 March, 11am – 4pm. Age: 14+

Tickets: £35 or £33 concession, includes all materials.

State of Change exhibition by Ricky Romain

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

For more information or to book your place on a workshop, visit www.linlithgowburghhalls.co.uk or call 01506 282720.

8th February – 21st April 2013

State of Change

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.

Keeping Quiet

‘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.

Ricky Romain at Matrix Chambers

23rd May – 25th June

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.

www.biduk.org

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 rsvp@matrixlaw.co.uk or +44(0)20 7404 3447

Platforma Festival 2011

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

‘Echoes and Traces’ at Musgrove Park Hospital, Taunton, 17 September – 20 November 2011.

The participating artists are:

  • Jill Carter
  • Jenni Dutton
  • Jon England
  • Mary Husted
  • Natasha Kerr
  • Tracey Oldham
  • Ricky Romain
  • Natalie Tkachuk
  • Phil Whiting

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.

Activities during 2009 – 2010

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.

Illustrations

‘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).

‘Scapegoats’

Exhibition to launch new website in collaboration with photographer Damon Knight at White Space Gallery, Axminster, 28 June – 1 August, 2009.

‘Innocents Accuses’

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

Speakers:

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: h.crawley@swansea.ac.uk.

Chambers of horrors aim to raise the bar

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.

From The Guardian, 6 December, 2006.