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Home/Land exhibition delves into the multifaceted themes of home, refugees, migration, displacement, and diasporic sensibilities.
In an era marked by global movement and shifting identities, wars and climate crisis, the exhibition’s artists reflect on their own lived experiences and those of others who have been uprooted from their homes, whether by choice or necessity.
The exhibition will feature paintings, photography, video and installations by over twenty Sussex-based artists and beyond.
The exhibition will include a rich programme of talks and workshops. All these events are free and open to all but have limited capacity. It is highly recommended that you register via Eventbrite. Please click here for more details and to register.
The exhibition is curated by Gil Mualem-Doron.
Participating artists: Alan Riley / Anastasia Klymenko / Alistair Debling / Bern O'Donoghue / Chris Hughes / Community Creations / Darren Calder / Dimitris Pagonis & Menelas/ Duncan McKellar / Eleonora Medwell / Gil Mualem-Doron / Hannah O'Hara / Helen Dewhurst/ Isabela Vasques / Isabel Mullery / Kathleen Dawson / Kris Daubaras / Linda Cassels / Marie Sansford / Nabihah Nadeem / Nadiia Chobit Roman / Nadiia Shmaiun / Sandra Collée / SEA-Studio / Victoria Suvoroff / Usva Inei / We Are Not Numbers [Gaza]/ Willie Robb / Yaroslava Matvieienko
The exhibition's private view is on June 15th from 2 to 5 p.m. For further details, please see the bottom of the page or
The exhibition is supported by the Arts Council England Lottery Project Grant and the Adur & Worthing Trust Brighton & Hove Prosperity Grant.
Works at the exhibition
Click on the images for more info about the work and the artists
May Day (Film, 2019) /
Duncan McKellar
500+ people sending a symbolic sos signal across the channel to mainland Europe.
My work addresses social interaction, global inter-connectivity, the environment, borders and a sense of place.
My recent work has focused on large-scale interventions involving the public and mirrors. These pieces have been activist in their nature and mostly responding to political events - including immigration and civil rights.
My work addresses social interaction, global inter-connectivity, the environment, borders and a sense of place.
My recent work has focused on large-scale interventions involving the public and mirrors. These pieces have been activist in their nature and mostly responding to political events - including immigration and civil rights.
Rosetta /
Gil Mualem-Doron & Maram Atouleh
Rosetta (2013)
Film 04:03
For a long time, the beach north of Old Jaffa has been unauthorised and has no name. Its border is made out of the destroyed houses of the village of Al-Rasid (Rosetta, in English) that existed until the 1948 war. The village was built outside Yafa’s walls by Egyptian soldiers from the village of Al-Rashid, on the banks of the Nile, who had remained in Yafa following the withdrawal of their leader, Ibrahim Pasha, who had ruled Yafa from 1831 to 1834. The Egyptian village of Al-Rasid was the place in which the Rosetta Stone was discovered.
Until 2011 a small part of a beautiful large house still existed at the edge of the beach. The only other structure that was left was renovated and turned into Biet-Gidi - a museum that celebrates the occupation of the area by the Israeli's Etzel forces in 1948.
The film depicts Maram, a Palestinian teenager from Jaffa, whose grandmother's house stood nearby until it was demolished soon after the 1948 War. Her grandmother is one of the 300,000 Palestinian internal refugees whose land and houses were confiscated in 1948 and who have been banned from returning to the places they had to leave. Through a set of various actions, Maram goes forward and back between Biet Gidi and the last remnants of Al-Rasid neighbourhood. The remnant was destroyed by Tel Aviv municipality a few days after the film was made.
The film was commissioned by Zochrot for the 1st 48mm Film Festival 2013
Gil Mualem-Doron [PhD] is an award-winning transdisciplinary and socially engaged artist. His work centres on identity, social justice, decolonial practices and participatory art. His practice is research-led, often collaborative and based on his lived experience of intersectionality.
His works have been exhibited in Tate Modern, Turner Contemporary, the South Bank Centre, and the People’s History Museum [Manchester], as well as in museums and galleries in Palestine-Israel, South Africa, Brazil, Germany, Spain, and Norway.
As part of his art practice, he founded 2016 the Socially Engaged Art Salon – QTPOC artists’ led not-for-profit organisation that promotes socially and politically engaged art.
Film 04:03
For a long time, the beach north of Old Jaffa has been unauthorised and has no name. Its border is made out of the destroyed houses of the village of Al-Rasid (Rosetta, in English) that existed until the 1948 war. The village was built outside Yafa’s walls by Egyptian soldiers from the village of Al-Rashid, on the banks of the Nile, who had remained in Yafa following the withdrawal of their leader, Ibrahim Pasha, who had ruled Yafa from 1831 to 1834. The Egyptian village of Al-Rasid was the place in which the Rosetta Stone was discovered.
Until 2011 a small part of a beautiful large house still existed at the edge of the beach. The only other structure that was left was renovated and turned into Biet-Gidi - a museum that celebrates the occupation of the area by the Israeli's Etzel forces in 1948.
The film depicts Maram, a Palestinian teenager from Jaffa, whose grandmother's house stood nearby until it was demolished soon after the 1948 War. Her grandmother is one of the 300,000 Palestinian internal refugees whose land and houses were confiscated in 1948 and who have been banned from returning to the places they had to leave. Through a set of various actions, Maram goes forward and back between Biet Gidi and the last remnants of Al-Rasid neighbourhood. The remnant was destroyed by Tel Aviv municipality a few days after the film was made.
The film was commissioned by Zochrot for the 1st 48mm Film Festival 2013
Gil Mualem-Doron [PhD] is an award-winning transdisciplinary and socially engaged artist. His work centres on identity, social justice, decolonial practices and participatory art. His practice is research-led, often collaborative and based on his lived experience of intersectionality.
His works have been exhibited in Tate Modern, Turner Contemporary, the South Bank Centre, and the People’s History Museum [Manchester], as well as in museums and galleries in Palestine-Israel, South Africa, Brazil, Germany, Spain, and Norway.
As part of his art practice, he founded 2016 the Socially Engaged Art Salon – QTPOC artists’ led not-for-profit organisation that promotes socially and politically engaged art.
Becoming Ithaca /
Dimitris Pagonis & Menelas
Becoming Ithaca (A visual poem)
This poem is for you.
You who were found washed ashore on the island I was sworn to protect. You who crossed my border. You who showed me the bittersweet taste of drowning at sea.
I am sinking now, drowning in your eyes, naked, stripped of my identities, my prejudices, my defences.
I am sinking now, drowning in love.
This visual poem is the continuation of a piece performed live at the Civil Disobedience queer festival, 2020, in Athens. The theme of the year was borders, nationalism, identities, tourism and immigration.
The ‘Becoming Ithaca’ performance was comprised of three parts. The islander who dresses up in national costume to attract tourists. The soldier defending his island from immigrants. And finally, the man stripped down to his humanity, who inspired the poem.
Dimitris Pagonis is an Athens based performer and director, but he also writes music and dances. He best describes himself not by the ways he expresses himself but more with the themes he works on: our relationship with time, our bodies, our sexuality and our desires.
Menelas is an Athens based pornographer and curator. He likes the simple aesthetics and sensuality of everyday life and dry humour. He has curated the almost annual exhibition ‘Civil Disobedience’ in Athens since 2011 and ‘Satyrs and Maenads: the Athens Porn Film Festival’ since 2020.
This poem is for you.
You who were found washed ashore on the island I was sworn to protect. You who crossed my border. You who showed me the bittersweet taste of drowning at sea.
I am sinking now, drowning in your eyes, naked, stripped of my identities, my prejudices, my defences.
I am sinking now, drowning in love.
This visual poem is the continuation of a piece performed live at the Civil Disobedience queer festival, 2020, in Athens. The theme of the year was borders, nationalism, identities, tourism and immigration.
The ‘Becoming Ithaca’ performance was comprised of three parts. The islander who dresses up in national costume to attract tourists. The soldier defending his island from immigrants. And finally, the man stripped down to his humanity, who inspired the poem.
Dimitris Pagonis is an Athens based performer and director, but he also writes music and dances. He best describes himself not by the ways he expresses himself but more with the themes he works on: our relationship with time, our bodies, our sexuality and our desires.
Menelas is an Athens based pornographer and curator. He likes the simple aesthetics and sensuality of everyday life and dry humour. He has curated the almost annual exhibition ‘Civil Disobedience’ in Athens since 2011 and ‘Satyrs and Maenads: the Athens Porn Film Festival’ since 2020.
Coastguards /
Alistair Debling
Coastguards reveals the Sussex coast’s delicate ecology, shaped by impacting waves of architecture, migration and militarisation. As changing climates disrupt migratory patterns along the English Channel, categories of native and invasive are thrown into question: when new arrivals land, who is deemed a threat and who is offered sanctuary?
Alistair Debling is a multimedia artist who works across film, photography, installation and performance to investigate diverse fields, from queer nightlife and ecology to militarism and architecture.
Alistair Debling is a multimedia artist who works across film, photography, installation and performance to investigate diverse fields, from queer nightlife and ecology to militarism and architecture.
أمي. أمي. أمي /
Nabihah Nadeem
Title: أمي. أمي. أمي
2024
Medium: photographic print on paper
The title of this photograph translates from Arabic to 'My mother, my mother, my mother'. It is often said that home is where the heart is, but for many, our family are our hearts. Commonly coming from heavily family-oriented cultures, migrants and refugees are often forced to leave their immediate relatives behind. This piece looks at the pain this separation causes and how hard it is to miss someone physically out of your reach.
I am a Fine art photographer who aims to delve into and raise awareness for social issues . I am a second generation immigrant and have volunteered for many years now with a mental health charity that supports women with mental health difficulties, many of whom are refugees or immigrants themselves.
2024
Medium: photographic print on paper
The title of this photograph translates from Arabic to 'My mother, my mother, my mother'. It is often said that home is where the heart is, but for many, our family are our hearts. Commonly coming from heavily family-oriented cultures, migrants and refugees are often forced to leave their immediate relatives behind. This piece looks at the pain this separation causes and how hard it is to miss someone physically out of your reach.
I am a Fine art photographer who aims to delve into and raise awareness for social issues . I am a second generation immigrant and have volunteered for many years now with a mental health charity that supports women with mental health difficulties, many of whom are refugees or immigrants themselves.
Sandra Collée /
And Not Waving But Drowning
Inspired by Stevie Smith's "Not Waving but Drowning," Sandra's artwork highlights the tragic loss of innocent lives and the urgent need to protect vulnerable children. Her paintings call for action to address fundamental human needs and prevent further suffering and injustice.
Price: £250
Sandra's work delves into societal and political dynamics, blending historical narratives with contemporary realities. She explores surveillance, censorship, and the penalisation of protesters, emphasising human interconnectedness and cultural globalisation. Advocating for Freedom of Movement, her art aims to break historical cycles and foster collective remembrance and action through protest.
Price: £250
Sandra's work delves into societal and political dynamics, blending historical narratives with contemporary realities. She explores surveillance, censorship, and the penalisation of protesters, emphasising human interconnectedness and cultural globalisation. Advocating for Freedom of Movement, her art aims to break historical cycles and foster collective remembrance and action through protest.
Ja? /
Linda Cassels
Ja?
A5 photograph on paper
Longing for your loved ones far away
Price £100
Linda Cassels was born in South Africa and later moved to the UK to work as a migrant. Her experiences led her to pursue a career as an artist. In her own words, "The art I create delves into the human experience, navigating the feeling of being 'different' yet 'the same', and attempting to understand my identity in public spaces. I delve into the emotions that we often try to suppress, recognizing that we respond to thoughts and situations both individually and collectively. My ideas manifest as words, images, objects, and reenactments."
A5 photograph on paper
Longing for your loved ones far away
Price £100
Linda Cassels was born in South Africa and later moved to the UK to work as a migrant. Her experiences led her to pursue a career as an artist. In her own words, "The art I create delves into the human experience, navigating the feeling of being 'different' yet 'the same', and attempting to understand my identity in public spaces. I delve into the emotions that we often try to suppress, recognizing that we respond to thoughts and situations both individually and collectively. My ideas manifest as words, images, objects, and reenactments."
War collages /
Anastasia Klymenko
War collages, Print on paper 2021-2022
PRICE: £30
When the war began, I felt terrible. We went to the countryside from Kiev on the 24th of February in the early morning, it was cold and scary. After some time a started making a project I named Stand for Ukraine. It consists of my reflections on what is going on. People being tortured and killed, children left without homes, women refugees and etc. Then Mariupol and the gas attack. At the same time, I wanted hope to be left, so I made collages about motanka, a Ukrainian doll and amulet and the vishivanka, a Ukrainian national blouse with embroidery, where every cross means something. I got inspired by the new war poetry of my friend in Facebook and also created works
Multidisciplinary artist from Kiev, Ukraine. I mainly work as a makeup and body artist. My works are an attempt to express my hidden inner feelings. I love working with people and creating face art. My creations are always an experiment. Make analogue and digital collages. The philosophy of collage is that something new is formed by combining "fragments" of the old and giving them a new meaning and a new life.
PRICE: £30
When the war began, I felt terrible. We went to the countryside from Kiev on the 24th of February in the early morning, it was cold and scary. After some time a started making a project I named Stand for Ukraine. It consists of my reflections on what is going on. People being tortured and killed, children left without homes, women refugees and etc. Then Mariupol and the gas attack. At the same time, I wanted hope to be left, so I made collages about motanka, a Ukrainian doll and amulet and the vishivanka, a Ukrainian national blouse with embroidery, where every cross means something. I got inspired by the new war poetry of my friend in Facebook and also created works
Multidisciplinary artist from Kiev, Ukraine. I mainly work as a makeup and body artist. My works are an attempt to express my hidden inner feelings. I love working with people and creating face art. My creations are always an experiment. Make analogue and digital collages. The philosophy of collage is that something new is formed by combining "fragments" of the old and giving them a new meaning and a new life.
Never Settle /
Alan Riley
#RebelRomeo started in Worthing as spray painted words to a lost love on a small unassuming section of wall opposite the Rose and Crown, Montague Street, “Montague” just like the surname of the famous Shakespearean character Romeo Montague.
Words originally taken from my Instagram account: @wordsmith.a.r
100% of Proceeds go to Charity - 50% to SuperstarArts Worthing and 50% to be Donated directly to a family in Gaza via GoFundMe by Rania Fraij.
Alan Riley is a street artist local to Worthing, known for his work under the pseudonym Rebel Romeo. His portfolio includes typographic graffiti art and figurative digital art.
Recently, Alan has ventured into large-format painting works, blending traditional street art with acrylic painting techniques.
Words originally taken from my Instagram account: @wordsmith.a.r
100% of Proceeds go to Charity - 50% to SuperstarArts Worthing and 50% to be Donated directly to a family in Gaza via GoFundMe by Rania Fraij.
Alan Riley is a street artist local to Worthing, known for his work under the pseudonym Rebel Romeo. His portfolio includes typographic graffiti art and figurative digital art.
Recently, Alan has ventured into large-format painting works, blending traditional street art with acrylic painting techniques.
Gaza 2014 /
Chris Hughes
These works are part of a large series that explores the imagery of
places that have experienced trauma, more specifically the bombing of
civilian populations. I’m interested in how some places are ‘defined’ by
the events that happen within them, and whether the aura of trauma
remains, either in the places, or in our representations of them.
Gaza: Unframed 42 x 59cm £2,500
MA with Distinction in Fine Art at University of Brighton, 2008 - 2010.
BA Hons (First Class) in Critical Fine Art Practice at Brighton, 2005 –
2008.
Recent shows include:
Trauma and the Sublime, postROOM, London(solo), 2024
places that have experienced trauma, more specifically the bombing of
civilian populations. I’m interested in how some places are ‘defined’ by
the events that happen within them, and whether the aura of trauma
remains, either in the places, or in our representations of them.
Gaza: Unframed 42 x 59cm £2,500
MA with Distinction in Fine Art at University of Brighton, 2008 - 2010.
BA Hons (First Class) in Critical Fine Art Practice at Brighton, 2005 –
2008.
Recent shows include:
Trauma and the Sublime, postROOM, London(solo), 2024
‘Off Limits’ /
Helen Dewhurst
‘Off Limits: Colnbrook + Harmondsworth’; Cast Concrete, 55x80x30cm
An area of land, solidified, cast, frozen in the landscape. Mapping sites of trauma and concealment, this relief sculpture documents an area of fenced land, shut off from the outside world.
“Unlike most European countries, the UK currently has no statutory upper time limit that a person can be held in immigration detention’’ (Migration Observatory, UK).
IRC Colnbrook is an immigration removal centre in Harmondsworth, West London, adjacent to Heathrow Airport. Colnbrook and the neighbouring Harmondsworth site are run jointly as IRC Heathrow by Mitie Care and Custody. The centre holds about 250 detainees.
Helen Dewhurst an artist and designer based in Brighton, whose work engages with the public and community and includes sculpture, installation, sound, photography, performance and experiential live encounters. Her projects create space for reflection on societal issues and often relate to themes of climate, migration, social justice and place. She works with communities to bring people together through creative exchanges and collective experience.
An area of land, solidified, cast, frozen in the landscape. Mapping sites of trauma and concealment, this relief sculpture documents an area of fenced land, shut off from the outside world.
“Unlike most European countries, the UK currently has no statutory upper time limit that a person can be held in immigration detention’’ (Migration Observatory, UK).
IRC Colnbrook is an immigration removal centre in Harmondsworth, West London, adjacent to Heathrow Airport. Colnbrook and the neighbouring Harmondsworth site are run jointly as IRC Heathrow by Mitie Care and Custody. The centre holds about 250 detainees.
Helen Dewhurst an artist and designer based in Brighton, whose work engages with the public and community and includes sculpture, installation, sound, photography, performance and experiential live encounters. Her projects create space for reflection on societal issues and often relate to themes of climate, migration, social justice and place. She works with communities to bring people together through creative exchanges and collective experience.
"I used to love walking along this street, greeting people. Now, I’m terrified I’ll step on a dead body."
Raghad Abu Shammalah /
We Are Not Numbers [Gaza]
Raghad Abu Shammalah
Raghad Abu Shammalah is a change-seeking young woman who was born in Saudi Arabia before moving to Gaza. She studied software engineering at the University of Palestine, is a member of Freedom Writers Foundation (FWF), and is a contributing writer to the collection, It’s a House Made of Sticks, published by Papercut Issues. She loves cooking, photography, coding, animals, playing with children, reading whatever she comes across, and writing. For Raghad, writing is not just putting words on paper, it’s her (and her people’s) expression of unspoken feelings and little victories.
[To read and view the full story please click the link.]
We Are We Are Not Numbers (WANN) is a youth-led Palestinian nonprofit project in the Gaza Strip. It tells the stories behind the numbers of Palestinians in the news and advocates for their human rights. The idea for WANN was conceived in 2014 by the American journalist Pam Bailey, and was brought to fruition in early 2015 in collaboration with Dr. Ramy Abdu, chair of the board of directors for the Euro-Mediterranean Human Rights Monitor (Euro-Med Monitor). WANN is registered in Gaza under the umbrella of Euro-Med and its fiscal sponsor in the United States is Nonviolence International.
To read more about We Are Not Numbers work, buy the work or donate please click the link.
Raghad Abu Shammalah is a change-seeking young woman who was born in Saudi Arabia before moving to Gaza. She studied software engineering at the University of Palestine, is a member of Freedom Writers Foundation (FWF), and is a contributing writer to the collection, It’s a House Made of Sticks, published by Papercut Issues. She loves cooking, photography, coding, animals, playing with children, reading whatever she comes across, and writing. For Raghad, writing is not just putting words on paper, it’s her (and her people’s) expression of unspoken feelings and little victories.
[To read and view the full story please click the link.]
We Are We Are Not Numbers (WANN) is a youth-led Palestinian nonprofit project in the Gaza Strip. It tells the stories behind the numbers of Palestinians in the news and advocates for their human rights. The idea for WANN was conceived in 2014 by the American journalist Pam Bailey, and was brought to fruition in early 2015 in collaboration with Dr. Ramy Abdu, chair of the board of directors for the Euro-Mediterranean Human Rights Monitor (Euro-Med Monitor). WANN is registered in Gaza under the umbrella of Euro-Med and its fiscal sponsor in the United States is Nonviolence International.
To read more about We Are Not Numbers work, buy the work or donate please click the link.
Medieval feast / Yaroslava Matvieienko
Medieval feast 2019
MEDIUM photography
SIZE 18 in × 12 without frame
PRICE £108
This image, titled “Medieval Feast,” captures the essence of a regal banquet from the Kyivan Rus era. The photograph showcases a rustic spread with fruits, pastries, and a bouquet, inviting viewers to savor the flavors of history. It’s a visual journey to the tables of ancient royalty.
Yaroslava Matvieienko, a Ukrainian refugee and art historian, blends journalism with visual arts. Settled in Sussex, she's an active member of the Ukrainian Friends Network, contributing to local exhibitions. Her photography captures the essence of her homeland, Ukraine, and the new beginnings on the South Coast.
MEDIUM photography
SIZE 18 in × 12 without frame
PRICE £108
This image, titled “Medieval Feast,” captures the essence of a regal banquet from the Kyivan Rus era. The photograph showcases a rustic spread with fruits, pastries, and a bouquet, inviting viewers to savor the flavors of history. It’s a visual journey to the tables of ancient royalty.
Yaroslava Matvieienko, a Ukrainian refugee and art historian, blends journalism with visual arts. Settled in Sussex, she's an active member of the Ukrainian Friends Network, contributing to local exhibitions. Her photography captures the essence of her homeland, Ukraine, and the new beginnings on the South Coast.
Wanderings /
Nadiia Chobit Roman
Wanderings
In another life, I was a nomad, travelling from one place to another, lingering only briefly where her soul sang.
She woke up with the sun and went to bed, greeting the moon.
In the morning - a mug of water and morning meditation at sunrise.
In the evening, there were a few sips of wine from the bottle (and on some evenings, one bottle was not enough).
As soon as a place or the people became tiresome, the nomad gathered her belongings, stocked up on provisions, and set off again.
Happiness is not in achieving goals but in the journey towards them.
Price £50
------------------------------------
The story behind the image:
The image was taken in Dublin in 2019 when I was on a Lufthansa business trip with my colleague Oksana. We rented a room for two additional nights. There was a map where tourists stuck pins to show where they were from. We were the first from Ukraine. I amended the Ukrainian capital’s name to the correct spelling, Kyiv.
I’m Nadiia, and I came from Lviv, Ukraine, with my young son Andrii to Worthing in July 2022 due to the Russian attacks. I was always around art. At the summer camp when I was 15, I did lots of body paintings with colourful gel pens, and the biggest one on somebody’s back was about the sea, a palm tree, and a boat.
In another life, I was a nomad, travelling from one place to another, lingering only briefly where her soul sang.
She woke up with the sun and went to bed, greeting the moon.
In the morning - a mug of water and morning meditation at sunrise.
In the evening, there were a few sips of wine from the bottle (and on some evenings, one bottle was not enough).
As soon as a place or the people became tiresome, the nomad gathered her belongings, stocked up on provisions, and set off again.
Happiness is not in achieving goals but in the journey towards them.
Price £50
------------------------------------
The story behind the image:
The image was taken in Dublin in 2019 when I was on a Lufthansa business trip with my colleague Oksana. We rented a room for two additional nights. There was a map where tourists stuck pins to show where they were from. We were the first from Ukraine. I amended the Ukrainian capital’s name to the correct spelling, Kyiv.
I’m Nadiia, and I came from Lviv, Ukraine, with my young son Andrii to Worthing in July 2022 due to the Russian attacks. I was always around art. At the summer camp when I was 15, I did lots of body paintings with colourful gel pens, and the biggest one on somebody’s back was about the sea, a palm tree, and a boat.
Park Life /
Marie Sansford
As I wander in the woods I wonder if people living off-grid do so from choice or necessity. Probably a mix of both…..Sometimes I envy them, sometimes I don’t. Round painting in acrylic, cement and organic matter on board.
Price: £300
Marie Sansford BA Fine Art Central St Martins 2000
I have been a member at Apec Studios since 2004, and exhibit at open studios there as well as at local galleries, most recently the Open 23 at Worthing Art Gallery.
Price: £300
Marie Sansford BA Fine Art Central St Martins 2000
I have been a member at Apec Studios since 2004, and exhibit at open studios there as well as at local galleries, most recently the Open 23 at Worthing Art Gallery.
Dupplin /
Willie Robb
I was brought up on a farm in Aberdalgie and Dupplin Estate, near Perth, Scotland. My family had farmed on the Estate for the over a century. Circumstances were changing in rural Scotland which prompted an urge to photograph the people and the places I grew up with.
Dupplin
PRICE: £300 framed, £125 print only
Dupplin
PRICE: £300 framed, £125 print only
Toxic Nostalgia /
Usva Inei
Toxic Nostalgia explores complex feelings about missing one’s home when that home is no longer a safe space. The artist comes from Russia, a place that is hostile to LGBTQ+ individuals and liberal thought. Yet, there are also nostalgic feelings from having grown up in and been acculturated to Russia.
Usva Inei is a trans non-binary visual and performance artist as well as an art educator. Working from their lived experiences as a queer Russian immigrant, Usva currently explores themes of misuse of power, suppression of freedom of speech, and generational trauma. Usva works through printmaking and mixed media installations.
Usva Inei is a trans non-binary visual and performance artist as well as an art educator. Working from their lived experiences as a queer Russian immigrant, Usva currently explores themes of misuse of power, suppression of freedom of speech, and generational trauma. Usva works through printmaking and mixed media installations.
DeadReckoning /
Bern O'Donoghue
One of seven panels humanising data collected in 2015 about the 3,771 refugees, migrants and asylum seekers who have gone missing in the Mediterranean Sea attempting to reach Europe that year. Each boat represents a son, daughter, neighbour, or friend who’s been lost, usually only described in statistical form by MSM.
Bern O’Donoghue is a socially engaged artist based in Brighton. Connection and permission are recurring themes in her work. Addressing social and political issues, her process-led practice explores the power of words to shape perception and the means by which simple artistic activities can be catalysts for progressive change.
Bern O’Donoghue is a socially engaged artist based in Brighton. Connection and permission are recurring themes in her work. Addressing social and political issues, her process-led practice explores the power of words to shape perception and the means by which simple artistic activities can be catalysts for progressive change.
Kind /
Darren Calder
Weaving from a series of words which describe feelings.
I wanted to make art at age ten ever since I was given a sketchbook by an uncle and started painting. I did art training on the Decorative Arts course at Camberwell School of Arts in 1990. I was introduced to a textile-based way of working in print and weave, which I loved, and I have continued working in that way ever since. A decade later, I did a Contemporary Tapestry weaving Post-Grad study at West Dean College in 2001
I wanted to make art at age ten ever since I was given a sketchbook by an uncle and started painting. I did art training on the Decorative Arts course at Camberwell School of Arts in 1990. I was introduced to a textile-based way of working in print and weave, which I loved, and I have continued working in that way ever since. A decade later, I did a Contemporary Tapestry weaving Post-Grad study at West Dean College in 2001
At What Cost /
Hannah O'Hara
At What Cost explores the displacement and diaspora of my Jewish, Polish family who came to England during the second world war. This work specifically looks at the changing of family names to traditional British names to fit in with societal expectations in an attempt to escape prejudice and isolation.
My artistic practice is lens-based and I work with photography and moving-image to explore temporality, place and memory. I am interested in our sense of belonging and personal history and my work has developed a participatory approach working with others to explore their heritage and personal narratives.
My artistic practice is lens-based and I work with photography and moving-image to explore temporality, place and memory. I am interested in our sense of belonging and personal history and my work has developed a participatory approach working with others to explore their heritage and personal narratives.
Amongst the trees we contemplated: do we belong here?
Print on Paper.
/ Kris Daubaras
It’s a woodland creature seemingly in a space that he is supposed to belong in and yet he is disconnected from. Made in Ubiske3 residency in Lithuania it’s part of a series of artwork looking for a connection to the homeland.
PRICE: £240
Kris Daubaras is a queer artist from Lithuania, currently working as part of the Print and Paper collective. His main area of interest is figurative drawing and painting, searching for belonging, empathy and joy in difficult experiences shared by queer people.
PRICE: £240
Kris Daubaras is a queer artist from Lithuania, currently working as part of the Print and Paper collective. His main area of interest is figurative drawing and painting, searching for belonging, empathy and joy in difficult experiences shared by queer people.
Reborn Ukraine / Eleonora Medwell
Reborn Ukraine is an artwork symbolising hope and resilience. A female figure stands amidst sunflowers against Ukraine’s colours, yellow and blue. It represents the nation’s enduring spirit and aspirations for peace and renewal amidst challenges. A testament to the unbreakable will of its people.
Eleonora Medwell, a British-Ukrainian artist, loves experiments and constantly tries new techniques with a fondness for acrylics, collage and blind contour. Her creations delve into femininity, gracing numerous UK and international exhibits.
Eleonora Medwell, a British-Ukrainian artist, loves experiments and constantly tries new techniques with a fondness for acrylics, collage and blind contour. Her creations delve into femininity, gracing numerous UK and international exhibits.
Pain about Ukraine /
Nadiia Shmaiun
' Pain about Ukraine'
"Have you ever been woken up by bombing?
It's the most horrific thing that can happen to you, your family and your beautiful, peaceful country.
Ukraine has been attacked, killed, and destroyed by Russians for centuries.
The black pain is always with you- was, is and will be.
#russiaisaterroriststate"
Price: £46
"Have you ever been woken up by bombing?
It's the most horrific thing that can happen to you, your family and your beautiful, peaceful country.
Ukraine has been attacked, killed, and destroyed by Russians for centuries.
The black pain is always with you- was, is and will be.
#russiaisaterroriststate"
Price: £46
Time to Leave /
oil on board, 27x50cm
Kathleen Dawson
The notion of a safe home is important to me. My work around often touches upon the loss of the security of home. I am impressed by the resilience that enables people to find a way of living in challenging circumstances. This painting is from a collage using found images.
I have drawn and painted all my life and am now able to spend more time on art. Much of my earlier work focused on natural disasters, but now it deals with conflict - alongside other subjects. It is rooted in the forces of History and Geography.
I have drawn and painted all my life and am now able to spend more time on art. Much of my earlier work focused on natural disasters, but now it deals with conflict - alongside other subjects. It is rooted in the forces of History and Geography.
Immigrant /
Victoria Suvoroff
MEDIUM: oil and metal paint emulsion on a canvas board
SIZE: 63x76 cm
YEAR: 2021
PRICE £1000 (can be negotiated)
Adaptation, assimilation and the inevitable absorption of different cultures and languages undoubtedly leaves an imprint on both the perception of the world and the perception of oneself. In this self-portrait, performativity and fluidity mark both experiences as a migrant as well as a queer individual.
Victoria Suvoroff is a queer artist with an experience of exile, whose multimedia work comes to challenge the preconceptions and connotations of how gender and sexualities are perceived. Taboos and social expectations are at the core of their work as well as the meaning of non-conformity to social norms.
SIZE: 63x76 cm
YEAR: 2021
PRICE £1000 (can be negotiated)
Adaptation, assimilation and the inevitable absorption of different cultures and languages undoubtedly leaves an imprint on both the perception of the world and the perception of oneself. In this self-portrait, performativity and fluidity mark both experiences as a migrant as well as a queer individual.
Victoria Suvoroff is a queer artist with an experience of exile, whose multimedia work comes to challenge the preconceptions and connotations of how gender and sexualities are perceived. Taboos and social expectations are at the core of their work as well as the meaning of non-conformity to social norms.
Workshops & Talks
Click on the image for more info & booking
All the events are free.
Birds of Gaza, A workshop led by Parents For Peace – Worthing.
June 15 // 10.15 – 11.15 & 11.30 – 12.30 // Free
Birds of Gaza will be an opportunity to craft unique birds, each dedicated to remembering a child killed in Gaza since October. All works produced in the workshop will be exhibited in the gallery and online.
Artist Talks: Displacements & Socially Engaged Arts Practices with Gil Mualem-Doron & Hannah O’Hara Facilitated by Clara Usiskin
Thursday 20 June // 18.00 – 20.00
Join artists Hannah O’Hara and Gil Mualem-Doron at Colonnade House to hear about their individual art practices in this free artist talk, facilitated by Clara Usiskin.
If you’re intersted in finding out more about the artists and their work you can book onto the workshop here.
If you’re intersted in finding out more about the artists and their work you can book onto the workshop here.
Storytelling Workshop: Dreaming of Home by Amelia “Ace” Armande
Saturday 22 June // 11.00 – 12.00 // Free
oin Amelia “Ace” Armande for this thoughtful and gentle introduction to storytelling as they guide you through different storytelling spoken word techniques that explore personal stories of homes we have known – how they have changed, and how they have changed us.
Amelia “Ace” Armande is magical, sparky, and probably several goblins in a long coat. They make work about fairytales, death, and how the stories we tell shape us. They have toured nationally as an actor and internationally as a storyteller. Amelia is non-binary and asexual and proud to represent the LGBTQIA+ community.
Amelia “Ace” Armande is magical, sparky, and probably several goblins in a long coat. They make work about fairytales, death, and how the stories we tell shape us. They have toured nationally as an actor and internationally as a storyteller. Amelia is non-binary and asexual and proud to represent the LGBTQIA+ community.
Creative Workshop: Weaving for Home – A Tapestry Weaving Taster by Darren Calder
Saturday 22 June // 13.00 – 15.00 // Free
Join Darren Calder for this introduction to weaving on a frame as you explore its theraputic qualities in this two hour workshop. Darren will facilitate ways to convey feelings through words and weaving. Participants will design using the first letter in that word and have a go at weaving their design.
No previous experience is needed, and all materials will be provided. Participants will be able to take their designs with them at the end of the workshop.
No previous experience is needed, and all materials will be provided. Participants will be able to take their designs with them at the end of the workshop.
Do you Belong Here?- An interactive performance by Caroline Osella and others.
Sunday 23rd June // 12:30 – 13:30 pm – Steyne Gardens // Free
‘Do you Belong Here‘ is a short, immersive live art experience in which participants will be taken on a journey. Facilitated by Caroline Osella and others, the performance will encourage live art engagement for an exciting, playful and thought-provoking experience.
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