Award-winning artist Joy Gregory revealed a glorious new public artwork at Heathrow Terminal 4’s underground station this week, a commission for Transport for London.
A Taste of Home is inspired by more than 100 asylum seekers living in temporary accommodation near the airport who Gregory met during workshops she ran. It comprises 24 works, pairing ethereal prints of plants, seeds, herbs and spices, paired with poetry – quietly querying lines by the likes of Gaza-born Khaled Abdallah and 35-year-old British-Kenyan poet Warsan Shire. It is both a timely and timeless reflection on migration and movement, on ideas of departure and return, and of how we carry a sense of home with us.

Gregory, 64, won the 8th annual Freelands Award in 2023 – a retrospective of her work will be held at the Whitechapel Gallery next year as a result. Having trained in commercial photography in the 1980s, Gregory developed a conceptual photo-based practice that experiments with a variety of digital and analogue techniques and grapples with themes related to contemporary identity, difference and displacement. She is also the editor of Shining Lights, the first critical anthology to explore the groundbreaking work of Black women photographers in the UK in the 1980s and 1990s. Shining Lights was published earlier this year, to great critical acclaim.

Of A Taste of Home, Gregory has said: “Culture and art is something that unites us all; it’s something we can all get behind. I think it’s important that art is in a space like this and not gallery space, which is seen as hallowed and exclusive. Everybody off the street can come and have a look at this.”

It’s South Asian Heritage Month – and The Wick is celebrating by continuing to champion the work of artists of South Asian heritage, an underrepresented but dynamic part of the arts scene in the UK.

Formerly an award-winning photojournalist, Kalpesh Lathigra’s series A Democratic Portrait began after a United Nations assignment in 2013 to document the Za’atari, a Syrian refugee camp in Jordan. “Back then, I was beginning to question how I take pictures, what images of refugees mean, and how they are used and read.” Lathigra told the British Journal of Photography. “Documenting hard news was my job, but I had no control over the usage, and it was an issue for me that images could be used as propaganda. As photographers, our subjectivity is critical and realising this eventually pulled me away from photojournalism.“

A Democratic Portrait saw Lathigra shift away from photojournalism towards the fertile space in between documentary and fiction, working with both found and staged images. A Democratic Portrait is shot with a Polaroid Passport Camera and Fuji FP 100C film (which is no longer made) and comprises more than 50 passport photographs of major cultural figures, celebrities, and politicians, as well as refugees, friends, family and people from marginalized communities. It unfolds an arresting story about portrait photography’s relationship with power,
London-based Lathigra is currently a Senior Lecturer at the London College of Communication and continues to create editorial and commercial work alongside his artistic projects.

The Art & Environment Prize is a new annual award organised by Maison Guerlain and Lee Ufan Arles, launched in 2023. The inaugural recipient of the prize is French artist, Djabril Boukhenaïssi, who is supported with a residency and exhibition — selected by Lee Ufan alongside a jury of experts from 381 entries.

Boukhenaïssi is a painter and engraver influenced by French and German philosophy and literature, (the artist also holds a degree in philosophy) whose delicate works draw on personal sketches of his past experiences. Boukhenaïssi spent eight weeks in the ancient city of Arles creating new works for the Art & Environment Prize exhibition at the Lee Ufans foundation — paintings and prints inspired by ‘nightfall’ and representations of the night, a recurrent theme in the artist’s work.

This oil and pastel work, Saint Blaise, is inspired by the church of the same name in Arles, a building with history dating back to the 12th century and possibly earlier, originally as a conventual chapel for the abbey of Saint Cesaire. With swathes of violence to represent the night, this evocative and hazy representation evokes the depths of a dream.
The artist’s first solo exhibition at Mariane Ibrahim gallery, Chicago, will take place in autumn next year.

The South African photographer Tshepiso Mazibuko belongs to the ‘born free’ generation, South Africans born after apartheid, with the hopes and promises of a more equal society. The reality for many Black South Africans, however, is still extremely difficult in a society riddled with inequalities and injustice.

Mazibuko trained in photography at the Market Photo Workshop, the institution set up by David Goldblatt that has since produced many of the country’s leading international names in the medium of photography. It was there that Mazibuko found her voice and decided she needed to document her own reality, as she saw it – her series of photographs titled ‘Ho tshepa ntshepedi ya bontshepe’, a proverb meaning ‘to believe in something that will never happen’, focuses on young black people, ‘born frees’ who like her live in the township of Thokoza, around thirty kilometres from Johannesburg – whose meaning in English is ‘place of peace’. Thokoza historically was established as a black township for labourers, with poor living conditions persisting to today. In the lead up to the 1994 elections, Mazibuko saw violent clashes.

Mazibuko deals with life in the township today, as it appears to her and her generation. Despite the obvious and suggested hardships in her photographs, the faces of children and young people she portrays are determined and proud. They persevere because no matter their circumstances, there is still a sense of hope and change that may yet make good on the born free promise.

Last week, Tshepiso Mazibuko was named the winner of the 2024 Madame Figaro Photo Prize and is the recipient of the Louis Roederer Foundation 2024 Discovery People’s Choice Award. Her series Ho tshepa ntshepedi ya bontshepe (To Believe in something that will never happen) is on view at the Louis Roederer Foundation 2024 Discovery Award exhibition, curated by Audrey Illouz, at Les Recontres D’Arles (until September 29, 2024).

You can almost smell the ocean breeze in Beatriz Milhazes’s captivating abstract paintings burst with intense colour and bold geometric patterns. The Brazilian artist’s inspiration for both of these elements is found in her hometown Rio de Janiero: the luscious tropical scenes of the Tijuca rainforest, just a stone’s throw from the artist’s studio; the bustling promenade along the city’s beaches; Baroque and architecture, Catholic iconography – all part of the rich and complex fabric of her homeland’s culture.

Milhazes refers to her style as “chromatic free geometry.” Her large-scale canvases were an important part of a Brazilian movement known as Geração 80, who pushed towards a visceral kind of abstract painting, a sharp move away from the heavily conceptual language of artists who defined Brazil’s art scene in the 1970s. In that exciting milieu, Milhazes brought the approach of collage to painting, and by the end of the 1980s she had come up with her signature ‘monotransfer’ method, painting her own motifs onto plastic sheets that are then transposed onto the canvas.

The resulting multi-layered canvases often stretch to several metres in size – the metallic and fluorescent pigments and illusory patterns seem to vibrate and have a magnetic force. It’s no wonder Milhazes has become such a sought-after figure, with a four-decade survey currently underway at Tate St Ives, until 29 September 2024. Overlooking the same ocean that Milhazes is inspired by, it’s a perfect setting for paintings that are the quintessence of the feeling of freedom and summer.

As we continue to honour contemporary queer artists through Pride Month and beyond at The Wick, we look to the woven, whittled and welded sculptures of Ugandan artist Leila Babirye. Babirye was forced to flee her home country in 2015 after her sexuality was revealed in a local newspaper. The Ugandan Parliament had since passed the Anti-Homosexuality Act in March 2023, criminalizing consensual same-sex conduct with penalties of up to life imprisonment, and the death penalty for those convicted of “aggravated homosexuality,” which includes repeated same sex acts. LGBTQI people face widespread, endemic violence and discrimination. In 2018, Babirye was granted asylum in the US.

In her adopted home of New York, Babirye collects discarded items from the streets, transforming these unwanted items into defiant objects of beauty. Traditional African masks, hand carved in wood or cast in clay, are incorporated into her sculptures too, representing the diverse community she lives among – such as this vibrant piece constructed of glazed ceramic, wood, wax, bicycle tubes and found objects, nailed together into a totem that appears both strong and fragile.

Describing her process, Babirye explains: “Through the act of burning, nailing and assembling, I aim to address the realities of being gay in the context of Uganda and Africa in general.”

We continue to support and celebrate Pride Month at The Wick throughout June taking a look at iconic works of art that have shaped our understanding of queerness through groundbreaking art.

36-year-old, NYC-based artist Juliana Huxtable works in a diverse range of media – performance, music, writing, and nightlife project Shock Value all form part of an expansive, all-encompassing practice dealing in turn with the intersections of race, gender, queerness and cultural identity. Huxtable rose to international acclaim after a dazzling,Sci-fi series of self-portraits were included, alongside a sculpture of Huxtable by artist Frank Benson, in the 2015 Triennial at the New Museum, New York. Huxtable’s unmistakable, digital age language often places her body in history to consider socio-political threats to her body as a black trans woman.

Juliana Huxtable’s All the Old Punx (2018) explores activism and conspiracy theories: digging into histories, narratives and technologies that have been neglected or forgotten, the mixed media collage traces the origins of black trans style back to punk subculture. In punk, Huxtable finds a shared sensibility: a DIY aesthetic, rebellion, resistance and resilience, a willingness to break away from the established order. Huxtable’s work is a key critical voice, while continuing to crucially challenge contemporary perceptions of identity and politics.

All the Old Punx (2018) is currently showing as part of transfeminisms, Chapter II: Radical Imaginations at Mimosa House. Transfeminisms, which will evolve to a total of five chapters, is a major touring group exhibition exploring the urgent and immediate issues facing women, queer and trans people around the world today.

Zanele Muholi’s major retrospective – cut short by covid when it first went up in 2020 – returns to Tate Modern this week, coinciding with the first week of Pride Month. The slightly expanded exhibition includes works from across more than two decades of the artist’s photography, moving between the soft gaze on queer bodies and experiences in tender documentary image, realized in close collaboration with participants, to searing self-portraits that skewer dominant ideologies and ways of looking at queer Black bodies. New sculptures have also been added, on view to the public for the first time, including a representation of the female sexual anatomy in bronze.

Muholi’s work can be seen in relation to South African history and the social and political changes that occurred in the 1990s. While South Africa’s post-apartheid constitution outlawed discrimination based on sexual orientation – the first constitution in the world to do so in 1996 – the reality for many LGBTQIA+ people in South Africa was starkly different, and violence and prejudice remain rife. Many of Muholi’s long-term, ongoing photo-based projects stem from the need to commemorate, memorialize and pay witness to their community and their experiences, trauma and joy.

This dramatic self-portrait belongs to a more recent series, entitled Somnyama Ngonyama (‘Hail the Dark Lioness’ in isiZulu) in which Muholi turns the camera on themself, performing different characters, using everyday items from their surroundings to create sculptural costumes. The images each respond to experiences the artist has had in the place the portrait was made – encounters with racism, eurocentrism, and homophobia. The contrast in the images is enhanced in post production to emphasize the darkness of their skin tone, to reclaim their Blackness, a statement of pride. Muholi’s exhibition runs to January 26, 2025.

Phyllida Barlow, “kept her fans and followers on the edge of their seats”, according to Frances Morris - becoming yet more ambitious and audacious with her sculptures in the last decade of her career. The venerated British artist, who died last year, aged 78, left an incomparable legacy - not only through her work, but also through her teaching (the likes of Rachel Whitehead and Angela de la Cruz were among those she trained at the Slade during her long academic career at the school, until she retired in 2009).

Barlow created works that wowed in scale but were somehow not monumental - using everyday, ordinary materials that could be easily obtained or identified - cheap and readily available items like cardboard, scrim, plaster and plywood frequently made their way into her work. Restless and endlessly playful, her sculptures could take almost any form; bursting and bustling with energy, filling rooms, jutting from the ceiling or sprouting unexpectedly from the ground.

This work, untitled: canvasracks, 2018-2019 appeared in Barlow’s acclaimed exhibition cul-de-sac at the Royal Academy in 2022. A continuation of the flurry of colours Barlow introduced to the British Pavilion for her 2017 presentation at the Venice Biennale, the sculpture comprises brightly coloured, thick canvas sheets, made to look as though chucked casually over metal supports, anchored precariously in heavy, austere concrete supports that seem to counterbalance the casual gesture made by the canvas. It epitomises Barlow’s brilliant insouciance as a sculptor.

An exhibition celebrating Barlow’s work, unscripted, curated by Morris, is on view at Hauser & Wirth Somerset until 5 January, 2025. “There’s something about walking around sculpture that has the possibility of being reflective, like walking through a landscape,” Barlow has said. “The largeness of sculpture has that infinite possibility to make one engage beyond just the object itself and into other realms of experience.”