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Arena for Contemporary African, African-American and Caribbean Art

Author: Raquel Villar-Pérez

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Anthea Hamilton

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The Squash is playful, humorous, inquiring, and subtly irreverent. Anthea Hamilton’s latest project is a witty response to what Tate Britain represents: the maxim referent of establishment art.

Raquel Villar-Pérez on the Tate project of Anthea Hamilton.
The Squash, by Anthea Hamilton. Image sourced from The Telegraph Newspaper

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Manuel Mathieu: reflections on abstract painting and trauma

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“My understanding of painting is the language of abstraction, and by abstraction I mean a world of ideas, a world of complex thoughts, a world of imagination. I believe that a descriptive approach is actually arming a subject. The more it is defined, the more it is reduced. Trying to stay open, works better for me when it comes to create strong links with reality, with facts, with my understanding of what it is to paint. …”

Raquel Villar-Pérez in conversation with Manuel Mathieu
Irma, 2017, Courtesy of the artist

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The Sheltering Pixel: The Representation of the Other

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The Sheltering Pixel is a very personal meditation of a non-African artist but who has matured his discourse and his way of looking, thanks to African artists in the Diaspora, whose knowledges and art works have raised issues such as the representation of the Other.

Raquel Villar-Pérez in conversation with Javier Hirschfeld.

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Alexis Peskine: Power Figures

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Part of my family history is about deportation, we were taken from our land and brought to a new one that we built; we created new cultures.
I like to talk about this topic and others such as immigration and institutional discrimination in my work because they affected my family and ancestors

Alexis Peskine interviewed by Raquel Villar-Pérez
Power, 2017. Moon gold leaf on nails, earth, coffee, water and acrylic on wood, 195 x 250 cm. Image: Alexis Peskine. Courtesy: October Gallery

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