I currently freelance curate exhibitions across the UK - mainly within the NW of England.
Presented below is an archive of exhibitions I have indepfvfjffief and co-curated and installed in order of newest to oldest exhibitions. Notable places are: Tate Liverpool, FACT Liverpool, OUTPUT Gallery, Independants Biennial Liverpool, and Convenience Gallery.
I always observe how spaces can evolve for visitor experience, become more accessible for marginalised people, and how the artist can be represented and supported to the next stage of their career.
Future Curation: Tetley Leeds, 2022.
For info of my work, please see my C.V.
OUTPUT GALLERY - OCT 2021
I was invited to guest curate Hilan Gully's Voices exhibition at OUTPUT Gallery, in Liverpool. Having curated this space before, I was excited for a new way to interpret the work made by the participants of Gully's previous workshops, which was to show the voices of Merseyside based Middle Eastern and Arab community, about climate change, environmentalism, and how they feel their voices are represented and heard.
In this space, we thought it was important to visually demonstrate the protest boards the participants made to emulate a real protest within the gallery, keeping the conversation frontal and ongoing. IMGS: OUTPUT GALLERY
QTIPOC EXHIBITION PARTY -
I really love curating in spaces that will be functional and aesthetic at the same time - this was the case in this instance. This exhibition I curated in the basement of Hyde Park Book Club in Leeds. It was a fantastic fundraiser for QTIPOC charity What Can We Do - that fundraises for UK Black and Brown Trans people’s healthcare, housing, and mental health needs. The space's artwork also consists of Queer university student's work, which consisted of film via projection, canvases, photographs, large print posters, delicate clothing and paper pieces (illustration and poetry). In total it was around 40 pieces of work total.
The space had to be curated start to finish in about three hours - but despite the short time frame, it was complete with safety and accessibility checks.
CONVENIENCE GALLERY - SEPT 2021
Utilising a space at Bloom Building, Birkenhead in which is usually a Café, I transformed the space to equally create designated 'wall space' for each individual artist, and to create a functional, streamlined space that can re-arranged or moved within short notice. This was made possible by using plinths and erected stand-alone panels.
This exhibition consisted of mine and 4 other artists work, sharing our own experiences of BPD (Borderline Personality Disorder) through the lens of artwork. Working with artists' work when they aren't present is a tricky challenge, as you need to represent it correctly. By taking an in-depth look into their practice and context of the works, I was successful in ensuring the safety and integrity of their art remained top priority when installing.
SOFT BOYS - FACT LIVERPOOL, AUG 2021
This was the biggest Exhibition I had ever curated independently, and it was a significant learning curve to my practice. Kiara Mohamed, Liverpool based Somali Trans artist invited me to curate his exhibition exploring his works. He felt it was important that the people working on this project were Queer and Somali, as often cultural traditions and knowledge is not represented within a gallery space by people who actually are within those communities. This can sometimes lead to the artist not being able to be fully supported, and possibly making spaces not as safe and open as they usually are.
Soft Boys is a short film about queer and trans joy, specifically through and within the Somali culture and community. By re-engaging with Somalian traditional dances, cooking practices and garments, Kiara connects with his nomadic ancestors and to a heritage from which he had always been made to feel excluded. In this solo exhibition, Kiara’s new work highlights how modern concepts of masculinity can be surprisingly conservative, even within the trans community. The experimental documentary questions what it means to be a man by focusing on emotion, empathy and joy.
During this project, I executed the exhibition from conception to installation, advancing research locally, culturally and in regards to Kiara's practice. I contemplated what would make this safe feel safer for people who are Queer, but perhaps may feel uncomfortable viewing Queer art within a public setting. I concluded on areas which had coverage from the public, headphones to cover the sound and context of the film, and bean bags for those who wish to stay for a while. I believe working with artists who you can relate and share experiences with is really important to make an exhibition feel genuine, warm, and welcoming. IMGS: FACT LIVERPOOL
OUTPUT GALLERY - ROOT-ED ZINE
CELEBRATING BLACK WOMEN 2019
It was important for us to represent three black women, all at different stages of their career within the same room. The mediums ranged from Abeni Sheen's illustrative and bold paintings; to Ivy Kalungi's plaster and metal installation displayed, and Kiara's Mohamed's (he/him) film Founding Mother display via projection.
Not often can you access free and local exhibitions that represent Black Women (at the time), for purely their artwork - with not concrete theme to tie them together, in order for their work to speak for itself. However, the exhibition touched on themes of motherhood, ancestry, and representation of culture and childhood memories.
This installation was curated under the umbrella of ROOT-ed Zine, a magazine that I co-found with Amber Akaunu (filmmaker and community artist).
Tate Liverpool HAIR, BLACK HISTORY AND MOVEMENT - 2018
This exhibition was curated when I was freshly graduated from university studying Fine and Applied arts, in which I took a deep interest in curation. The function of the space was to both create an open, welcoming atmosphere and also to present the paper based 2D works of myself, Kiara Mohamed, and Amber Akaunu on the walls as well as present literature relevant to our theme: hair, black history and movement (rhythmically and historically).
We also had dance, acting and singing installations within the space, so we had to take into consideration footfall, flow, health and safety and accessibility. This was an interesting space to work with as we were paralleled with another installation of an exhibition. We were also not allowed to bring in anything that could encourage pests such as plants or dead foliage - which is something I had not fully considered. This aspect has brought me into studying conservation of paintings and items from 2020 as a hobby.