Jewellery & Metal (MA)
Roxanne Simone
Roxanne Simone is a Black British Visual Artist working primarily within Contemporary Metalwork and Jewellery, her work focuses on the reimagining of the Black Diasporic Identity.
Conducting participatory observations through Anthropological research methods as an educator and social practitioner who teaches, mentors and collaborates within local communities in London.
Dismantling physical and metaphorical boundaries within Contemporary Craft, object making and representation, Roxanne graduated with a 1st class honours in Jewellery and Silversmithing from The Cass School of Art, Architecture and Design in 2015 and was the recipient of the Griffin Scholarship for her studies at the RCA.
With a wealth of global cross-cultural collaborations, Roxanne’s practice is at the beginning stages of reimagining craft, space and the future of Blackness within Contemporary Art.
Awards
Goldsmiths Precious Mental Grant award 2020/21
Commendation for Jewellery Design and making British Jewellers Association 2015
Commendation for Jewellery techniques Resin 8 2015
Designer of the people award The Cass School of Art, Architecture and Design 2015
Practice
2020
Exhibition: Metal Craft & Jewellery cultural Exchange - Gallery No Space - Beijing
Social Practitioner: Young people’s Mentor (ongoing) - Hackney Quest - London
2019
Social Practitioner: Black History Month Origins - Woodmansterne School & Hackney Quest - London
Panellist: Current Obsession Social Club: Intersectionality - Munich
2018
Social Practitioner: Bantu storytelling Jewellery workshop, Woodmansterne School -London
Social Practitioner: Objective Beauty: Alternative Jewellery project for Women, Art of Seeing Centre -Egypt
Social Practitioner: 3D Mythologies workshop, Outreach RCA - London
2016
Artist in Residency: Tandemize 2.0 British Council - London/Sri Lanka
Exhibition: Hansen Gallery Souvenir - Jerusalem
2015
Exhibition: TENT LDF2015 - Exhibitor & Exhibition Stand designer - London
Exhibition: New Designers 2015 - London
Social Practitioner: Flashfactory - London City Hall – London
2014
Co-founder & Director: Art against Machine Collective
Artist in Residency: Tandemize Cass & Design & Azza Fahmy Design Studio, British Council – London/Cairo
Sponsors
Griffin RCA Tuition Scholarship
As I reflect on the past year, my practice is transitioning into spaces that are social, public and digital. Currently working from home, access to create physically has been challenging, however inspiring. The possibilities of the non-physical and how people can connect with Black culture is the perspective, to invite collective experiences and change the landscape of gallery white walls.
My making has always been intuitive, recent events have afforded me a time of imagination resulting in altering my practice, as my physical tools were locked away. I am reimagining the processes of object making, by exploring digital spaces and considering the combination of the digital and physical Metalwork.
I see future opportunities and access to spaces as strength to my practice, allowing for further creative imagination. The pandemic has allowed me to flourish artistically with limited resources and as such I am excited by the possibility of unlimited opportunities to spaces, materials, communities and audiences.
Special thank you to:
Malaika Dixon, Georgia Reynolds, Angel, Zakiyaa Syrus, Sarah Griffin, Jonathan Boyd, Pete Musson, Ian Stoney, Max Warren, Jane Ben David, Linda Biney, Annabelle Ogden, Aki Akiwumi, Rebecca de Quin, Michael Rowe, Adi Toch, Linda Brothwell, Warren Martin, Sarah Murdoch, Skandouz, Katharina Dettar, Kristi Kotow and the JaM family.
Malaika — Digital Collage (Photography & Patinated Metal Object) Master Size: 1300 mm x 1840 mm Limited Edition x 6 Prints: 500 mm x 710mm
Seeing Angel — Digital Collage (Photography & Patinated Metal Object) Master Size: 1300 mm x 1840 mm Limited Edition x 6 Prints: 500 mm x 710mm
In this unprecedented time, Objects, Films and Images displayed are a work in progress. Illustrated to tell the story of my MA project; ‘Visibility’, in the hope that the story being told will invite you envision my artistic direction and the potential for completion by the end of 2020.
In an attempt to depict the emotions and experiences of Black British people, I am questioning the ways of seeing blackness and being seen by exploring the depths of treasures that encompass Black women & non-binary people.
My practice involves documenting both critical reflections around intuitive making and space, and conversations around navigating intersections within British society, intuitions and culture. I am exploring revolutionary acts to overthrow the social, historical and cultural systems of oppression by altering the gaze through hydroforming metal, patination, poetry, photography, collage and animation. During the recent pandemic this work has further pushed the boundaries of the traditional processes of making as I have adapted into digital spaces to dismantle borders, walls and explored my imagination without limitations of physical spaces.
Visibility was developed through the frameworks of Autobiographical and Autoethnography research methods that include ethology, socio-political and ethnographical ideologies. Through community-based activities, conversations, and extensive research into Black culture specific literature, my awareness of the historical, present and future of Black women’s lives altered my way of making for ‘Visibility’.
The hydroforming process spoke to this awareness in metaphorical ways, beginning flat these shapes are drawn and cut out via abstracted curves of my own body, connected by umbilical-like tubing to a pressurised machine. By expanding objects with water, I made connections to something primal: the pressure being the movement of a people forced out, into and overflowing, bursting forth in culture, which is everywhere. Together the water and pressure change these flat, lifeless welded forms, underrepresented in their glory, I expand them, filling in space as the source of life, giving nourishment and simultaneously disruption.
This process and the resulting objects tell stories of growth, joy and the survival of Black bodies: abstract forms now tainted, yet evolved, carrying memories of a process, a moment, a time.
In an attempt to depict the emotions and experiences of Black British people, I am questioning the ways of seeing blackness and being seen by exploring the depths of treasures that encompass Black women & non-binary people.
My practice involves documenting both critical reflections around intuitive making and space, and conversations around navigating intersections within British society, intuitions and culture. I am exploring revolutionary acts to overthrow the social, historical and cultural systems of oppression by altering the gaze through hydroforming metal, patination, poetry, photography, collage and animation. During the recent pandemic this work has further pushed the boundaries of the traditional processes of making as I have adapted into digital spaces to dismantle borders, walls and explored my imagination without limitations of physical spaces.
Visibility was developed through the frameworks of Autobiographical and Autoethnography research methods that include ethology, socio-political and ethnographical ideologies. Through community-based activities, conversations, and extensive research into Black culture specific literature, my awareness of the historical, present and future of Black women’s lives altered my way of making for ‘Visibility’.
The hydroforming process spoke to this awareness in metaphorical ways, beginning flat these shapes are drawn and cut out via abstracted curves of my own body, connected by umbilical-like tubing to a pressurised machine. By expanding objects with water, I made connections to something primal: the pressure being the movement of a people forced out, into and overflowing, bursting forth in culture, which is everywhere. Together the water and pressure change these flat, lifeless welded forms, underrepresented in their glory, I expand them, filling in space as the source of life, giving nourishment and simultaneously disruption.
This process and the resulting objects tell stories of growth, joy and the survival of Black bodies: abstract forms now tainted, yet evolved, carrying memories of a process, a moment, a time.
Medium:
CollageSize:
1300 mm x 1840 mmIn Collaboration with:
Image: Malaika
Black Futurism — Created by Roxanne Simone
Animation by Peter Musson
Music by Jhest provided by FRSHRZ
Thank you to: Jonathan Boyd
Eve-n — Digital Collage Master: 1800 mm x 1800 mm
Melanin — Digital Collage Master: 1800 mm x 1800 mm
A Sea of Digital Change
'Standing on the shoulders of giants',
our disadvantage, is our advantage.
Evolving through Revolutionary Art,
the healing started long ago.
They gave us the blueprints,
the Architects of Blackness.
Can you see it in Lewis's paintings?
it is all revealing in-spite of erasure.
There is music in the brushstrokes,
can you hear the rhythm in the abstract?
It is time to dismantle the plinth,
We have sampled the beat,
can we question the walls?
Let's colour the space!
There is freedom in this realm.
Messages are fluid, the patina never dies.
In this cosmic ocean, our histories are found,
our future can never be bound.
It is a digital journey lets fly.
The digital realm offers the freedom to move in Blackness without apology.
African American Abstract Expressionist Artist Norman Lewis’s paintings are the source of inspiration for the plinths that my collages sit. Lewis's paintings reflected a time of triumph and overcoming during the Civil Rights Movement. His paintings follow me in Black British life as a source of inspiration, knowledge and wisdom.
The plinths you see in the animation are abstractions from his painting 'The Players'. Experienced in scale, stature as objects, layered and three dimensional, displayed in a gallery from my imagination, to lift, support and connect the work I created during the pandemic and the Black Lives Matter revolution.
This animation is layered with history, time, wisdom of the past looking towards the horizon and hope for the future.
'Standing on the shoulders of giants',
our disadvantage, is our advantage.
Evolving through Revolutionary Art,
the healing started long ago.
They gave us the blueprints,
the Architects of Blackness.
Can you see it in Lewis's paintings?
it is all revealing in-spite of erasure.
There is music in the brushstrokes,
can you hear the rhythm in the abstract?
It is time to dismantle the plinth,
We have sampled the beat,
can we question the walls?
Let's colour the space!
There is freedom in this realm.
Messages are fluid, the patina never dies.
In this cosmic ocean, our histories are found,
our future can never be bound.
It is a digital journey lets fly.
The digital realm offers the freedom to move in Blackness without apology.
African American Abstract Expressionist Artist Norman Lewis’s paintings are the source of inspiration for the plinths that my collages sit. Lewis's paintings reflected a time of triumph and overcoming during the Civil Rights Movement. His paintings follow me in Black British life as a source of inspiration, knowledge and wisdom.
The plinths you see in the animation are abstractions from his painting 'The Players'. Experienced in scale, stature as objects, layered and three dimensional, displayed in a gallery from my imagination, to lift, support and connect the work I created during the pandemic and the Black Lives Matter revolution.
This animation is layered with history, time, wisdom of the past looking towards the horizon and hope for the future.
Medium:
Animation, Collage, PoetrySize:
2.55 mins
P.C — Digital Collage (Photography & Patinated Metal Object) Master Size: 1480 mm x 800 mm
Untitled — Copper Hydroformed Patinated Object Size: 350 mm x 115mm x 140 mm approx.
Renee inspired -'Hottentot Venus' 2020 — Digital Collage (Photography & Patinated Metal Object) Copper Hydroformed Patinated Object Size: 170 mm - 450mm / Made to order
"This ain't no pussy shit" — Copper Hydroformed Patinated Object Size: 90 mm x 65 mm x 50 mm & larger
Genders — Digital Collage (Photography & Patinated Metal Object) Limited Edition x 7 Prints: 250 mm x 250 mm
Power — Copper Hydroformed Patinated Object (WIP) Size: 75 mm x 65 mm x 50 mm
Hat-shepsut — Digital Collage (Photography & Patinated Metal Object) Master size: 1300 mm x 2850 mm
I masculine, fragile, hard and strong,
dark skin, inner core of blue.
With silk in my voice, how I contradict thee.
Raised with roots, there is growth in the dark,
Blackberries trodden by my ancestors,
the gift from Horus is my inner sight.
Ra, absorbent mahogany, I seek you in the Nile’s reflection.
I feminine, beautiful, resilient and soft dark skin,
inner core of blue.
With fire in my eyes, how I contradict thee.
Blossomed in the light, there is truth in the dawn.
Melanin rich skin protects me,
the gift from Nut is my inner blue.
Ra, absorbent mahogany,I seek you too in the Nile’s reflection.
Inspired by Angel, this project explores intersectionality, gender and misogynoir.
As I arrive at the beginning of exploring my agency, and what it means to inhabit our bodies, I could not ignore my dearest Angel and their journey that inspires me to live in my vessel authentically. While constantly being seen through the gaze of a cisgender, white, heteronormative dominated world. Knowing Angel but never seeing Angel before this project and what it means to have to contend with the body, we inhabit because of the constructs of gender norms has transformed my life and allowed me to explore my relationship with my body with agency.
Angel is powerful, poetic in every sense and deserves to be seen without limitations. Greatly loved and admired, the poem above is fitting, the title Hatshepsut, was the only single woman and arguably most successful Pharaoh who ruled Ancient Kemet, bringing trade, architecture and abundance to the kingdom. It is said that Hatshepsut adorned herself in male attire during her rule and many sculptures craved of Hatshepsut have no distinctive gender.
"My experience as a black, gay police officer helped when dealing with victims of crime who were of the BAME LGBTQ as I was relative to them and many times, we shared the same experiences. I could come from a place of empathy, understanding and learning for both my personal and professional perspective. I think my gayness and my colour, especially in this time of what is happening in society with inequality, systematic racism and so much more issues, is needed, not to be the organisation token gay, black woman but a person who can offer perspective, insight and my personal and professional experiences." Angel 2020
dark skin, inner core of blue.
With silk in my voice, how I contradict thee.
Raised with roots, there is growth in the dark,
Blackberries trodden by my ancestors,
the gift from Horus is my inner sight.
Ra, absorbent mahogany, I seek you in the Nile’s reflection.
I feminine, beautiful, resilient and soft dark skin,
inner core of blue.
With fire in my eyes, how I contradict thee.
Blossomed in the light, there is truth in the dawn.
Melanin rich skin protects me,
the gift from Nut is my inner blue.
Ra, absorbent mahogany,I seek you too in the Nile’s reflection.
Inspired by Angel, this project explores intersectionality, gender and misogynoir.
As I arrive at the beginning of exploring my agency, and what it means to inhabit our bodies, I could not ignore my dearest Angel and their journey that inspires me to live in my vessel authentically. While constantly being seen through the gaze of a cisgender, white, heteronormative dominated world. Knowing Angel but never seeing Angel before this project and what it means to have to contend with the body, we inhabit because of the constructs of gender norms has transformed my life and allowed me to explore my relationship with my body with agency.
Angel is powerful, poetic in every sense and deserves to be seen without limitations. Greatly loved and admired, the poem above is fitting, the title Hatshepsut, was the only single woman and arguably most successful Pharaoh who ruled Ancient Kemet, bringing trade, architecture and abundance to the kingdom. It is said that Hatshepsut adorned herself in male attire during her rule and many sculptures craved of Hatshepsut have no distinctive gender.
"My experience as a black, gay police officer helped when dealing with victims of crime who were of the BAME LGBTQ as I was relative to them and many times, we shared the same experiences. I could come from a place of empathy, understanding and learning for both my personal and professional perspective. I think my gayness and my colour, especially in this time of what is happening in society with inequality, systematic racism and so much more issues, is needed, not to be the organisation token gay, black woman but a person who can offer perspective, insight and my personal and professional experiences." Angel 2020
Medium:
Objects, Patination, Digital Collage, PoetrySize:
MultipleSeeing Angel — Words by Angel
Film by Roxanne Simone
Angel has erotic agency, returning the cis gaze is a matter of urgency.
Challenge your own venerability, Angel is not here for gendered consumption.
Focus instead on the embodiment of freedom, Angel commands the body, in pleasure and awakened love.
Identifying without labels, rejecting abuse, as does not ‘cotched’ inside the crafted temple.
Angel is fluid in identity, Queering in magnificent Blackness.
See Angel.
“For the master’s tools will never dismantle the master’s house. They may allow us to temporarily beat him at his own game, but they will never enable us to bring about genuine change. Racism and homophobia are real conditions of all our lives in this place and time. I urge each one of us here to reach down into that deep place of knowledge inside herself and touch that terror and loathing of any difference that lives here. See whose face it wears. Then the personal as the political can begin to illuminate all our choices.” ― Audre Lorde
Challenge your own venerability, Angel is not here for gendered consumption.
Focus instead on the embodiment of freedom, Angel commands the body, in pleasure and awakened love.
Identifying without labels, rejecting abuse, as does not ‘cotched’ inside the crafted temple.
Angel is fluid in identity, Queering in magnificent Blackness.
See Angel.
“For the master’s tools will never dismantle the master’s house. They may allow us to temporarily beat him at his own game, but they will never enable us to bring about genuine change. Racism and homophobia are real conditions of all our lives in this place and time. I urge each one of us here to reach down into that deep place of knowledge inside herself and touch that terror and loathing of any difference that lives here. See whose face it wears. Then the personal as the political can begin to illuminate all our choices.” ― Audre Lorde
Medium:
VideoSize:
4:30 sec
Irtyu — Digital Collage (Photography & Patinated Metal Object) Master Size: 2260 mm x 1600 mm
Irtyu Temple — Copper Hydroformed Patinated Object Size: 170 mm - 450mm
Irtyu Temple — Copper Hydroformed Patinated Object Size: 170 mm - 450mm
Irtyu Temple — Copper Hydroformed Patinated Object Size: 170 mm - 450mm
Irtyu Temple — Copper Hydroformed Patinated Object Size: 170 mm - 450mm
Indigo dyeing to trade with you,
my soul is copper shaded with marks of green.
Trapped water shines out blue,
to tell your eyes a story of pigmented sky’s.
My heaven is Lapus and I stain your touch,
with a wealth of wisdom leaving evidence of your intrusion.
Traces left on you disrupt your thinking,
question your privilege to stratify your curiosity.
Deep ocean of blue memories I am created by mothering,
My maker patinated me with tales of experiences.
Time changed the complexion of my surface,
revealing my quartz to sparkle at my preference.
Inspired by Malaika, who has dedicated her career to educating Primary and Secondary School children as head of Art, Design & Technology in various schools within Lambeth. Malaika currently sits on the curriculum review board for Lambeth Education Council, where it strives to diversify the curriculum, one such example is the implementation of 'West African Empires' as part of the Primary school syllabus. Alongside this, she is mother of two young children, balancing life and career Malaika is the epitome of 'Irtyu' in strength, compassion and Black Womanhood.
‘…in many temples the gods are painted in blue, the pharaoh wears blue in his crown because he is god on earth, and when dead he is shown as blue because he becomes deified as a god. This idea continued into Christian times and the colour of Madonna's dress is frequently shown in blue.’
my soul is copper shaded with marks of green.
Trapped water shines out blue,
to tell your eyes a story of pigmented sky’s.
My heaven is Lapus and I stain your touch,
with a wealth of wisdom leaving evidence of your intrusion.
Traces left on you disrupt your thinking,
question your privilege to stratify your curiosity.
Deep ocean of blue memories I am created by mothering,
My maker patinated me with tales of experiences.
Time changed the complexion of my surface,
revealing my quartz to sparkle at my preference.
Inspired by Malaika, who has dedicated her career to educating Primary and Secondary School children as head of Art, Design & Technology in various schools within Lambeth. Malaika currently sits on the curriculum review board for Lambeth Education Council, where it strives to diversify the curriculum, one such example is the implementation of 'West African Empires' as part of the Primary school syllabus. Alongside this, she is mother of two young children, balancing life and career Malaika is the epitome of 'Irtyu' in strength, compassion and Black Womanhood.
‘…in many temples the gods are painted in blue, the pharaoh wears blue in his crown because he is god on earth, and when dead he is shown as blue because he becomes deified as a god. This idea continued into Christian times and the colour of Madonna's dress is frequently shown in blue.’
Medium:
Copper, Digital Collage & PoetryIn Collaboration with:
Georgia
Untitled (wip) — Copper Hydroformed Object and Heat Patination. Each object is unique. Size: 300 mm dia x 190 mm Various small and large scale
Untitled (wip) — Copper Hydroformed Object and Heat Patination. Each object is unique. Size: 300 mm dia x 190 mm Various small and large scale
Young black woman’s experience within British university education.
He said – “hello mistress Georgia”
A stereotype gave permission to his gaze, my boundaries confused,
the power is imbalanced in an intersectional haze, I am objectified.
Checking my clothing for signals, Looking around for clues,
representations of me are lacking, replaced by unsurprising ideas of othering.
The privilege is not mine to challenge,
as to be sexualised creates a familiar indifference,
confused by his position of authority.
Pretend, ignore, be quiet, be small.
But I am uncomfortable, even as I hide from the spotlight,
I take back some power in the moment, using silence as a tool in which to fight.
Each time I enter the lecture hall, I question my agency,
and my body remembers.
This project is inspired by Georgia, a young millennial who dedicated her education to dismantling systems of oppression and inequality. Georgia overcame adversity and discrimination while pursuing her BA in Youth and Community Development and advocated for other young people in the Leicester City Council by assisting people seeking asylum as well as working on an international aid project. The poem above was penned and inspired by conversations we had about her body, intersectionality and safe spaces.
"Majority of my work was focused on issues affecting the black community in the UK! I’m so proud that I was able to do it justice. My dissertation topic was about raising awareness of the inequalities that exist for people of a Black background in higher education (black students are 17% less likely to achieve upper class degree classifications due to discriminatory systems) - highly personal and therefore an emotional process. I am Proud to have broken through the statistics against all odds." Georgia
Since, Georgia has became a 1st class honours graduate and earned her place on an MSc in Poverty, Inequality and Development at University of Birmingham.
He said – “hello mistress Georgia”
A stereotype gave permission to his gaze, my boundaries confused,
the power is imbalanced in an intersectional haze, I am objectified.
Checking my clothing for signals, Looking around for clues,
representations of me are lacking, replaced by unsurprising ideas of othering.
The privilege is not mine to challenge,
as to be sexualised creates a familiar indifference,
confused by his position of authority.
Pretend, ignore, be quiet, be small.
But I am uncomfortable, even as I hide from the spotlight,
I take back some power in the moment, using silence as a tool in which to fight.
Each time I enter the lecture hall, I question my agency,
and my body remembers.
This project is inspired by Georgia, a young millennial who dedicated her education to dismantling systems of oppression and inequality. Georgia overcame adversity and discrimination while pursuing her BA in Youth and Community Development and advocated for other young people in the Leicester City Council by assisting people seeking asylum as well as working on an international aid project. The poem above was penned and inspired by conversations we had about her body, intersectionality and safe spaces.
"Majority of my work was focused on issues affecting the black community in the UK! I’m so proud that I was able to do it justice. My dissertation topic was about raising awareness of the inequalities that exist for people of a Black background in higher education (black students are 17% less likely to achieve upper class degree classifications due to discriminatory systems) - highly personal and therefore an emotional process. I am Proud to have broken through the statistics against all odds." Georgia
Since, Georgia has became a 1st class honours graduate and earned her place on an MSc in Poverty, Inequality and Development at University of Birmingham.
Medium:
Copper Objects, Digital Collage, poetrySize:
MultipleDocumenting Hydroforming — Film & words by Roxanne Simone
Recordings of the Hydroforming process and reflective thinking.
Trigging content.
Where is our space to twist and turn,
as immortal Gold we are cosmic.
See us in blackness as a movement like water,
my temple pressured by my proximity to whiteness.
I obtain freedom from my intersections,
Exploring my narrative as human.
Primal treasures, released through intuitive mothering,
I see myself in the future.
Trigging content.
Where is our space to twist and turn,
as immortal Gold we are cosmic.
See us in blackness as a movement like water,
my temple pressured by my proximity to whiteness.
I obtain freedom from my intersections,
Exploring my narrative as human.
Primal treasures, released through intuitive mothering,
I see myself in the future.
Medium:
Video, PoetrySize:
5 mins
Touch — Digital Collage (Photography & Patinated Metal Object) Master Size: 1800 mm x 1800 mm
Indigo — Digital Collage (Photography & Patinated Metal Object)
Vessel — Digital Collage Photograph Limited Edition x 7: 420 mm x 200 mm
Photography was my first artistic love, at the age of 14 I discovered a camera at school, after years of family photos, I was in the position of capturing a moment, interpreting others and having a tool to tell stories of what I see. It was also at this age I began to write poetry.
Bell Hooks ‘Art On My Mind: Visual Politics came to mind.
‘I think about the place of art in Black life, connections between the social construction of black identity, the impact of race and class, and the presence in black life of an inarticulate but ever-present visual aesthetic governing our relationship to images, to the process of image making.
Cameras gave black folks irrespective of class, a means by which we could participate fully in the production of images.
Access and mass appeal have historically made photography a powerful location for the construction of an oppositional black aesthetic. All colonised and subculture within the framework of domination recognise that the filed of representation (how we see ourselves, how others see us) is a site of ongoing struggle.’
Bell Hooks ‘Art On My Mind: Visual Politics came to mind.
‘I think about the place of art in Black life, connections between the social construction of black identity, the impact of race and class, and the presence in black life of an inarticulate but ever-present visual aesthetic governing our relationship to images, to the process of image making.
Cameras gave black folks irrespective of class, a means by which we could participate fully in the production of images.
Access and mass appeal have historically made photography a powerful location for the construction of an oppositional black aesthetic. All colonised and subculture within the framework of domination recognise that the filed of representation (how we see ourselves, how others see us) is a site of ongoing struggle.’