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Drawing Room and Modern Art Oxford jointly present A Slice through the World: Contemporary Artists’ Drawings, a group exhibition that celebrates the sustained power of drawing in the digital age.
The exhibition at Drawing Room brings together a dynamic selection of recent works by 6 international artists who are committed to the materiality of paper and pencil, showcasing a remarkable attention to detail and skill. In an age of mass media, where the rapid proliferation of images leaves many on the verge of digital exhaustion, A Slice Through the World explores the power of traditional drawing to make us slow down and reconsider how we look at the world.
By looking at this ancient communication technology as it meets the newest forms of digitised image culture, A Slice through the World will signal the resilience of drawing as a means of responding to contemporary questions of dialogue and representation, reinforcing its status as an inherently interdisciplinary medium that remains central to artistic practice across the world.
A Slice through the World is a collaboration with Modern Art Oxford. The featured artists across the two-venue group exhibition are ruby onyinyechi amanze, Nidhal Chamekh, Milano Chow, Kate Davis, Karl Haendel, David Haines, Ian Kiaer, Ciprian Muresan, David Musgrave, Wura-Natasha Ogunji, Kathy Prendergast, Massinissa Selmani, Lucy Skaer and Barbara Walker.
Born 1982 Port-Harcourt, Ruby Onyinyechi Amanze lives and works in Philadelphia and Brooklyn. Graduated from BFA Fine Art with Summa Cum Laude at Tyler School of Art, Temple University (2004); and from MFA Fine Art at Cranbrook Academy of Art (2006).
amanze’s large-scaled and multi-dimensional drawings are part of an ongoing, yet non-linear narrative that employ the malleability of space as the primary antagonist. A nameless, self-imagined, chimeric universe has simultaneously been positioned between nowhere and everywhere.
Taking roots in architecture, design, migration histories and non-nationalist politics, the manipulation of space functions as a poetic alternative to fixed identities and geographies. Navigating fictional and conflating worlds, a cohort of aliens, hybrids and ghosts play effortlessly and access magic as their mundane, yet expansive norm.
Selected solo exhibitions include there are even moonbeams we can unfold, Goodman Gallery, Cape Town (2018); STAR FISH, Smack Mellon Foundation, New York (2017); The Divers, The Armory Show with Mariane Ibrahim Gallery, New York (2016); astroturf rooftop picnics, Morgan Lehman Gallery, New York (2015); a story. in parts., Tiwani Contemporary, London (2015); merge, Nomad Gallery, Washington D.C. (2014); and Waiting for the Queen, Dyker Gallery, Brooklyn Academy of Music (2012). Selected group exhibitions include you are so loved and lovely, Fridman Gallery, New York (2019); A Slice through the World: Contemporary Artists’ Drawing, Drawing Room, London and Modern Art Oxford (2018); Affective Affinities, 33rd Bienal de São Paulo (2018); The Ease of Fiction, Museum of the African Diaspora, San Francisco (2017); Un-becoming, Fridman Gallery, New York (2016); The Other Hemisphere, Artists, Women, Africans, Natural History Museum of Le Havre (2016); Magic, Omenka Gallery, Victoria Island, Lagos (2015); BRIC Biennial, Volume I, Bric Arts Gallery, Brooklyn (2014);and no one belongs here more than you, Centre for Contemporary Art, Lagos (2013).
Awards include selection as a Fulbright Scholar at the University of Nigeria, Nsukka (2012-2013); a recipient of the Artist Commission Program, Montblanc Cultural Foundation, Hamburg, Germany (2018); and shortlisted for Prix Canson Drawing Prize, The Drawing Centre, New York (2016). Residencies include Queens Museum, Flushings (2015 – 2017); and Open Sessions, The Drawing Center, New York (2016 – 2017).
Milano Chow (b. 1987, Los Angeles) lives and works in Los Angeles. Received her BA from Barnard College (2009); and attended The Skowhegan School of Painting and Sculpture (2013). Chow was awarded the Pollock- Krasner Foundation Grant (2018). Select solo exhibitions include These Buildings are Rated X, Chapter NY, New York (2018); Sightlines, Museo Apparente, Naples (2017); Egg and Tongue, Mary Mary, Glasgow (2016); The Painted Screen, Chapter NY, New York (2015); and Mode Pratique, Young Art, Los Angeles (2015). Select group exhibitions include Line and Verse, Andréhn-Schiptjenko, Stockholm (2018); The Beyond: Georgia O’Keefe and Contemporary Art, Crystal Bridges Museum of American Art, Arkansas (2018); Milano Chow/Ann Green Kelly/Daniel Rios Rodriguez, Michael Benevento, Los Angeles (2017); 2016 Inaugural Exhibition, Romeo, New York (2016); I hope to God you’re not as dumb as you make out, Mary Mary, Glasgow (2015); Light Night, Wallspace, New York (2014); and Near Dark, Young Art, Los Angeles (2013). Her work is held in private and public collections including the Whitney Museum of American Art, New York.
Born 1985 Dahmani, Nidhal Chamekh lives and works between Paris and Tunis. Graduated from BA Fine Art, École nationale supérieure des Beaux-Arts (2008); and MA Fine Arts and Art Sciences, Paris I, Panthéon-Sorbonne (2010).
NChamekh's practice reflects on the times that we inhabit. His artwork is situated at the intersection of the biographic and the political, the lived and the historical, the event and the archive. Using drawing, installations, photography and video, his oeuvres dissect the constitution of our contemporary identity. Chamekh has developed a language that challenges history and politics in their broader sense. He performs his fragmentary research to convey an ambiguous atmosphere, shifting between the experience and the violence of the individual representation. He represents an imperceptible space between a silent violence mirroring an intimate experience of trauma.
Selected exhibitions include Comme un parfum d'aventure, MACLyon, Lyon (2020); Nos visages, Selma Feriani Gallery, Tunis (2019); The 12th edition of Bamako Encounters Photography Biennial, Mali, Bamako (2019); HybrID, Kunsthaus Hamburg (2019); Diaspora at Home, CCA Lagos (2019); 21st Contemporary Art Biennial Sesc_Videobrasil, Associação Cultural Videobrasil and Sesc São Paulo (2019); Dream City Biennial, Tunis (2019 & 2017); A Slice Through the World: Contemporary Artists' Drawings, Modern Art Oxford and Drawing Room, London (2018); Memory Matters, Skissernas Museum, Lund (2018); The Sea is the Limit, York Art Gallery (2018); Yinchuan Biennale: For an Image, Faster Than Light, Museum of Contemporary Art Yinchuan (2016); and All the World's Futures, 56th International La Biennale di Venezia, Venice (2015).
Born 1977 New Zealand, Kate Davis lives and works in Glasgow. Graduated from the Glasgow School of Art (2001).
Her work in drawing, moving image, printmaking, installation and bookworks questions how to bear witness to the complexities of the past. Reconsidering what certain histories could look, sound and feel like, this has often involved responding to the aesthetic and political ambiguities of historical art works and their reception.
Selected exhibitions include The Driver’s Seat, Cubitt Gallery, London (2018); Here was Elsewhere >>FFWD, Cooper Gallery DJCAD, Dundee (2018); A Slice Through the World: Contemporary Artists’ Drawings, Drawing Room, London and Modern Art Oxford, Oxford (2018); NOW: Susan Philipsz, Michael Armitage, Yto Barrada, Kate Davis, Hiwa K, Scottish National Gallery of Modern Art, Edinburgh (2017); Charity, LUX, London (2017); Nudes Never Wear Glasses, Stills, Edinburgh (2017); The Unswept Floor, Dunedin Public Art Gallery (2016); Not Just the Perfect Moments, The Drawing Room, London (2012); Eight Blocks or a Field, Temporary Gallery, Cologne (2013); Peace at last!, Gallery of Modern Art, Glasgow (2012); Ranziges Fett, Galerie Kamm, Berlin (2012); ¿Qué tenemos que hacer con una habitación propia?, Museo de la Ciudad and La Galeria de Comercio, Mexico (2010); The Long Loch: How Do We Go On From Here?, CCA, Glasgow (with Faith Wilding) (2010); Outsider, Sorcha Dallas,Glasgow (2008); Your Body is a Battleground Still, Tate Britain, London (2007); and Stop! Stop! Stop!, Kunsthalle Basel (2006).
Awards include the Margaret Tait Award (2017); Creative Scotland Artists Bursary Award (2014); and Smithsonian Artist Research Fellowship, Washington (2012).
Born 1976 New York, Karl Haendel lives and works in Los Angeles. Graduated from BA at Brown University, Providence (2000); and MFA University of California, Los Angeles (2003).
Haendel's practice is anchored in the production of large, labor-intensive pencil drawings which are presented in installation form. He uses the installations as a means to discover connections and affinities between seemingly disparate nodes of cultural data, drawing attention to the overlaps between the social, political, and personal. He also creates public projects, films, and artists' books that explore these themes in a less object-based manner, allowing him to access contexts outside of the gallery and museum. His work explores how our culture uses images to produce opinions, values, and beliefs and how the images we produce reflexively re-shape these frameworks.
Selected solo exhibitions include exhibitions include Double Dominant, Vielmetter Los Angeles, Los Angeles, CA (2020); Doppelgänger, WENTRUP, Berlin (2018); The Competition Myth, Yvon Lambert, Paris (2013); High Performance Stiffened Structures, Locust Projects, Miami (2013); and Questions for My Father, Utah Museum of Contemporary Art, Salt Lake City (2012). Selected group exhibitions include 100 Drawings from Now, The Drawing Center, New York (2020); A Slice through the World: Contemporary Artists’ Drawings, Modern Art Oxford, Oxford and Drawing Room, London (2018); I who make mistakes on the eternal typewriter, Kunstvereniging Diepenheim, Diepenheim (2017); Biennial of The Americas, Museum of Contemporary Art, Denver (2015); 2014 Whitney Biennial, Whitney Museum of American Art, New York (2014); and 12th Biennale de Lyon (2013).
Awards and residencies include the Pollock Krasner Foundation Grant (2015); Chinati Foundation Artist in Residence (2011); and the Penny McCall Foundation Award, Durfee Foundation Grant (2004).
Born 1969 Nottingham, David Haines lives and works in Amsterdam. Graduated from Camberwell School of Art, London and The Rijksakademie van Beeldende Kunsten, Amsterdam.
Haines works with a range of media, predominantly drawing, painting and video.
Select solo exhibitions include The Skin’s gaze (and Other Thoughts), Upstream Gallery, Amsterdam (2020); A Fragile Membrane, an Illusive Screen, Upstream Gallery, Amsterdam (2017); Two Way Mirror, Tyneside Cinema (Gallery), Newcastle (2017); Disegni, Artissima, Turin (2017); Armory Show, New York (2016); Discoveries, Art Basel HK, Hong Kong (2014); and Upstream Gallery, Amsterdam (2013). Select group exhibitions include Modern Love (or Love in the Age of Cold Intimacies), Tallinn Kunsthalle - Kunstihoone, Tallinn and Museum für Neue Kunst, Freiburg (2021); Trouble in Paradise, Kunsthal, Rotterdam (2019); A Slice Through the World, Drawing Room, London and Museum of Modern Art, Oxford (2018); New Dutch Short Films, Rooftop Films/ Trilok Fusion Center for the Arts, New York (2016); Art at the Spaarne (The Collection/Donation of Bart Spoorenberg), Teylers Museum, Haarlem (2016); Transformer, Upstream Gallery, Amsterdam (2015); IDFA on Art, Eye Film Museum, Amsterdam (2015); Hoge Horizon, Stedelijk Museum, Lier (2014); Beauty of Violence, Museum Het Dolhuys, Haarlem (2014); and Nothing in the World But Youth, Turner Contemporary, Margate (2011); The End of the Line; Attitudes in Drawing, Hayward Gallery, London and touring (2009); and Adam and Eve, Curated by Annie Fletcher, De Appel, Amsterdam (2002).
Awards include the Irinox Drawing Prize, Artissima, Turin (2017); the Jeanne Oosting Prize, The Hague (2012); and exhibiting as part of the 12th Istanbul Biennial (2011).
Ian Kiaer (b. 1971, London, UK) lives and works in Oxford, UK. Kiaer studied at the Slade School of Art, UK (1995); and at the Royal College of Art, UK for his MA (2000) and PhD (2008). His installations involve groupings of architectural models, untouched or slightly modified found objects, and two-dimensional work to create fragmented narratives. These works are prompted by the ideas of utopian thinkers, architects, and artists from various periods of history whose common concern has been their resistance and critique of dominant ideologies – while providing possible alternatives for thought. Select solo exhibitions include Endnote, tooth, Musée d’Art Moderne de la Ville de Paris, France (2017-2018); Neubauer Collegium, Chicago, USA (2016); Lulu, Mexico City, Mexico (2015); Henry Moore Institute, Leeds, UK (2014); Focal Point Gallery, Southend-on-Sea, UK (2014); Centre International d'art et du Paysage, Vassivière, France (2013); Aspen Art Museum, USA (2012); Kunstverein, Munich, Germany (2010); Galleria d'Arte Moderna e Contemporanea, Turin (2009); Bloomberg SPACE, London (2009); and British School at Rome, Italy (2005). Select group exhibitions include We Stared at the Moon from the Centre of the Sun, Towner Art Gallery, Sussex (2018); Strange Days, frac île-de-france, Paris (2017); Klappe eins, Affe tot, Kunstsaele Berlin, Berlin (2016); Concrete, John Hansard Gallery, Southampton (2015); L'Image Papillon, MUDAM, Luxembourg (2013); The Space Between, Tate Britain, London (2012); All of this and Nothing, Hammer Museum, Los Angeles (2011); British Art Show 7, Hayward Gallery, London (2010); and Setting the Scene, Tate Modern, London. Kiaer also participated in the 10th Lyon Biennale (2009); the 4th Berlin Biennial (2006); and the 50th Venice Biennale (2005). His work is held in public and private collections including Tate, London, UK; Centre Pompidou, Paris, France; Museum fur Moderne Kunst, Frankfurt, Germany; and Hammer Museum, Los Angeles, USA.
Born 1977 Dej, Ciprian Mureşan lives and works in Cluj. Graduated from the Academy of Visual Arts Ion Andreescu, Cluj (2000).
Although in 1989 the Ceaușescu regime came to a peremptory halt, that moment does not seem to have represented a "point zero" - the divide that separates the past from the present.
The confusion of the past with the present is perpetuated both at the level of our daily life, of the urban reality that surrounds us, as well as at the level of the cultural heritage presented in museums or in the public space (via monuments).
This inertia is often addressed in my works. Cultural heritage is presented only partially, in a censored manner, often moving within the confines of a comfort zone that avoids confronting the past.
Selected solo exhibitions include Ciprian Mureșan, SMAK, Ghent (2019); L'atelier sans fin, Galerie de l'Atelier Brancusi, Centre Pompidou, Paris (2019); Ways To Tie Your Shoes, Convent Art Space, Ghent (2017); Your Survival is Guaranteed by Treaty, Ludwig Museum, Budapest (2015); Stage and Twist, Project Space, Tate Modern, London (2012); Recycled Playground, FRAC Champagne-Ardenne, Reims (2011); Contemporary Art Center, Geneva (2012); and Contemporary Art Gallery, Vancouver (2013). Selected group exhibitions include Viva Arte Viva, 57 La Biennale di Venezia, Venice (2017); Allegory of the Cave Painting, Extracity Kunsthalle, Museum Middelheim, Antwerp (2014); Six Lines of Flight: Shifting Geographies in Contemporary Art, Museum of Modern Art, San Francisco (2012); Les promesses du passé, Centre Pompidou, Paris (2010); and The Generational: Younger than Jesus, New Museum, New York (2009).
Born 1973 Stockton-on-Tees, David Musgrave lives and works in London. Graduated from Chelsea College of Art and Design.
Musgrave's work is held in public and private collections worldwide including Tate and MoMA.
Selected exhibitions include Hooks & Claws, Galerie Gregor Staiger, Zurich (2020); Two person show with Simon Ling, greengrassi, London (2020); Good Grief, Charlie Brown!, Somerset House, London (2018-19); The Policeman's Beard is Half Constructed, Bonner Kunstverein, Bonn (2017); Space Force Construction, V-A-C Foundation, Venice (2017); Being Thing, CIAP, île de Vassivière, Beaumont du-Lac (2015); The Noing Uv It, Kunsthalle Bergen, Bergen (2015); Être Chose, CIAP Île de Vassivière, Beaumont-du-Lac (2015); and The Universal Addressability of Dumb Things, Bluecoat Gallery, Liverpool, and touring (2013). Select solo exhibitions include greengrassi, London (2018, 2016); Luhring Augustine, New York (2014); and Marc Foxx, Los Angeles (2015). His work is held in public collections including the Museum of Modern Art, New York; The Metropolitan Museum of Art, New York; the Hammer Museum, Los Angeles; the Dallas Museum of Art, Dallas; the Rhode Island School of Design, Providence; and Tate, London.
Awards include being shortlisted for the Fitzcarraldo Editions Novel Prize, for his novel Total Abstraction (2018); selection as a finalist for the Prix Canson (2015); and his digital animation Studio golem being broadcast on Channel 4 in the United Kingdom (2013).
Wura-Natasha Ogunji (b. 1970, St. Louis, MO, USA) lives and works in Lagos, Nigeria. Ogunji received a BA in Anthropology from Stanford University, USA (1992) and an MFA in Photography from San Jose State University, USA (1998). She is a co-founder and lecturer at the Institute for Performing Justice (CWGS) at the University of Texas, Austin, USA and founder/curator of the experimental art space The Treehouse in Lagos. She has received awards and grants from the Guggenheim Foundation Fellowship; The Pollock-Krasner Foundation; The Dallas Museum of Art; and the Idea Fund. Ogunji was an Artist-Curator for the 33rd São Paulo Bienal where her large-scale performance Days of Being Free premiered. Select solo exhibitions include Every Mask I Ever Loved, ifa-Galerie Berlin (2017/18). Select group exhibitions include City Prince/sses, Palais de Tokyo, Paris; A Slice through the World: Contemporary Artists’ Drawings, Modern Art Oxford (2018); inaugural Lagos Biennial (2017); Kochi-Muziris Biennale, Kerala, India (2018); 1:54, London, UK (2018); Seattle Art Museum; Brooklyn Art Museum, USA; and Louisiana Museum of Modern Art, Humlebaek, Denmark.
Born Dublin 1958, Kathy Prendergast lives and works in London. Graduated from BA Fine Art at the National College of Art and Design, Dublin (1983), and MA Fine Art at Royal College of Art, London (1986).
Prendergast makes work that combines drawing, sculpture and installation, and is informed by a range of interests including landscape, mapping, migration, the female body and the relationship between the individual (the solitary) and the collective (the universal). At the core of the work is the notion of the one and the many, how we interact in the world and impact on it. The crossover between history, geography, archaeology and memory as a narrative is central to her practice. She is interested in the formal and conceptual qualities of repetition, and the transformational potential inherent in familiar objects through artistic intervention.
Her work is held in public collections including Tate, London; the Arts Council of Great Britain, London; the Arts Council of Ireland, Dublin; the Albright-Knox Museum, Buffalo; the Santa Barbara University Museum, Santa Barbara; the Contemporary Museum, Honolulu; and Dublin City Gallery The Hugh Lane, Dublin.
Selected solo exhibitions include Atlas and The Road, Kunst-Station Sankt Peter, Köln (2019); Black Maps, Douglas Hyde Gallery, Dublin (2016); Atlas, Kerlin Gallery, Dublin (2016); Atlas - a reverie, The European Commission, London (2016); OR, Crawford Art Gallery, Cork (2015); Black Map Series, PEER, London (2010); Dream of Discipline, Douglas Hyde Gallery, Dublin (2006); The End and the Beginning, IMMA, Dublin (2000); and Art Now, Tate Britain, London (1997). Selected group exhibitions include From A to B, Museum Morsbroich, Leverkusen (2020); The Other Side - Borderlands in Contemporary Irish Art, Dortmunder U, Dortmund (2019); A Slice through the World, Modern Art Oxford, and Drawing Room, London (2018); Islands, Constellations and Galapagos, Yokohama Triennale 2017, Yokohama (2017); The Lie of the Land, Swindon Museum & Art Gallery, Swindon (2017); Somewhat Abstract, Nottingham Contemporary, Nottingham (2014); and With an Apple I Will Astonish, Large Glass, London (2012).
Awards include The David and Yuko Juda Art Foundation Award (2018); and The Bryan Robertson Trust Award (2017). Prendergast won the Best Young Artist Award at the Venice Biennale for her work City Drawings (1995).
Born1980 Algiers, Massinissa Selmani lives in Tours and Tizi-Ouzou. Graduated from Computer science, University of Tizi-Ouzou, Algeria (2003); and DNSEP, École des beaux-arts de Tours, France (2010).
Selmani's practice is made up of drawn forms that emphasize the documentary dimension of drawing and the narrative processes that result from it, creating works at the frontier of the real and the unreal, the political and the poetic, the comic and the tragic, which are characteristic of his work.
Select solo exhibitions include Le calme de l’idée fixe, Centre de création contemporaine Olivier Debré (CCC OD), Tours, France (2019); Choses fortuites, Château d’Oiron, France (2019); Ce qui coule n’a pas de fin. SAM Art Projects Prize, Palais de Tokyo, Paris (2018); and Les choses que vous faites m’entourent, Selma Feriani gallery, Tunis (2017).
Select group exhibitions include The wall at the end of the rainbow, Jan Van Eyck Academie, Maastricht (2020); Waiting for Omar Gatlato, The Wallach Art Gallery, New York (2019); Incursioni D’arte Nella Civiltà, Fondazione Pierluigi e Natalina Remotti, Camogli, Italy (2019); Inhabiting the Mediterranean, Institut Valencià d’Art Modern (IVAM), Valencia (2018); No Looking Back, Okay?, Maribor Art Gallery, Slovenia (2018); A Slice through the World: Contemporary Artists’ Drawings, Modern Art Oxford (2018); Tamawuj, 13th Sharjah biennial, Sharjah (2017); Social Calligraphies, Zachęta Narodowa Galeria Sztuki, Warsaw (2016); All the world’s futures, 56th Venice Biennale, Venice (2015); La vie moderne, 13th biennale de Lyon, Lyon (2015); and Produire le commun, Dak'Art - Biennale de l'Art Africain Contemporain, Dakar (2014).
Awards include SAM Art Projects Prize, Paris (2016); Art Collector Prize, Paris (2016); and Special mention, 56th Venice Biennale (2015).
Lucy Skaer (b. 1975, Cambridge, UK) lives and works in Glasgow, UK. Skaer studied for her BA Honors Fine Art at the Environmental Art Department, Glasgow School of Art. Awards and residences include the Paul Hamlyn Foundation Award (2016); Hammer Museum Residency, Los Angeles, US (2016); Villa Medicis Residency, Rome, Italy (2015); Résidence - Atelier Calder, Saché, France (2013); and Location One International Fellowship, New York, USA (2010). Nominations include the Prix Canson (2016) and the Turner Prize (2009). Select solo exhibitions include Sentiment, Peter Freeman Inc., New York, USA (2018); Available Fonts, Salzburger Kunstverein, Austria (2018); Una Casa Más Pequeña (A smaller house), Museo Tamayo, Mexico City, Mexico (2017); Past Shows, GRIMM Frans Halsstraat, Amsterdam, Netherlands (2017); One Remove, Witte de With Contemporary Art, Rotterdam, Netherlands (2016); Exit, Voice and Loyalty, Tramway, Glasgow, UK (2013); and A Boat Used As A Vessel, Kunsthalle Basel, Basel, Switzerland (2009). Select group exhibitions include Now Wakes the Sea: Contemporary art and the ocean, Lewis Glucksman Gallery, Cork, Ireland (2017); The Other Dark: Tacita Dean, Jeremy Millar, Nashashibi/Skaer, Sirius Arts Center, Ireland (2017); Generation: 25 years of Contemporary Art in Scotland, The Hunterian, Glasgow, UK (2014); Art Under Attack – Histories of British Iconoclasm, Tate Britain, London, UK (2013); Spies in the House of Art: Photography, Film and Video, The Metropolitan Museum of Art, New York, USA (2012); and Watercolour, Tate Britain, London, UK (2011).
Born 1964 Birmingham, Barbara Walker MBE lives and works in Birmingham. Graduated from BA Art and Design University of Central England (1996).
Walker's work is informed by the social, political and cultural realities that affect her life and the lives of those around her. Growing up in Birmingham, her experiences have directly shaped a practice concerned with issues of class and power, gender, race, representation and belonging. Her figurative drawings and paintings tell contemporary stories hinged on historical circumstances, making them universally understood and reflecting a human perspective on the state of affairs in her native Britain and elsewhere.
Her works are held in public and private collections including Birmingham Museum & Art Gallery; The Herbert Art Gallery, Coventry; Arts Council Collection, London; Yale Center for British Art, New Haven; Government Art Collection, London; The British Museum, London; US Embassy Collection, London; Whitworth Art Gallery, Manchester; Facebook, London; and Guest Projects, London.
Selected solo exhibitions include solo exhibitions include Place, Space and who, Turner Contemporary, Margate (2019); Vanishing Point, Jerwood Gallery, London (2018); Shock and Awe, Midlands Arts Centre, Birmingham (2016); Sub Urban, James Hockey Gallery, University for the Creative Arts, Farnham (2015); and As Seen, Tiwani Contemporary London (2013). Selected group exhibitions include Portrayals, Arts Council Collection, Banbury Museum Art Gallery (2020); Everyday Heroes, The Haywood Gallery, London (2020); Unquiet Moments: Capturing the Everyday, Online, Courtauld Institute of Art, London (2020); Lahore Biennale (2020); Summer Show, Royal Academy of Arts, London (2019); Protest and Remembrance, Alan Cristea Gallery, London (2019); Zeichen, MEWO Kunsthalle, Memmingen (2018); Frederick Douglass: Embers of Freedom, SCAD Museum of Art, Savannah (2019); Diaspora Pavilion, 57th Venice Biennale (2017); A Slice Through the World: Contemporary Artists’ Drawings, Modern Art Oxford (2018); and The Gallery of Small Things, Dakar Biennale, Senegal (2018).
Awards include the Drawing Room Bursary Award (2018); Paul Hamlyn Foundation Award (2020); Bridget Riley Fellowship at The British School at Rome (2020); and the inaugural Evelyn Williams Drawing Award in association with the Jerwood Charitable Foundation (2017).