I always considered the artist as much as the curator as researchers.
In that respect, as curator, as I have been working the legacy post-colonial stories, from a French, British and Luso-phone point of view. I choose a subject that would benefit to the very different locations that often have been through similar narrations.
As the Windrush scandal unfold itself here in the country where I live now since 2013, I understood that I could make some further investigations in the way some artists have been working in their research-based works tackling the question of Sugar. Be it formally as a material or around its invisibility, the artists I have chosen: Julian Germain, Llona Nemeth, Zineb Sedira have worked in a very inspiring way around the exploitation of Sugar. For the moment, this subject is taking the shape of interviews I am making with artists who have explored/are exploring the topic through the lens of their works.
This subject reveals infinite aspects related to historical, as much as economic injustice or environmental issues, which if put in today’s perspective, addresses crucial considerations of our legacy and how it is still affecting so many post-colonial territories, as much as its people.