Interview with Rayvenn D’Clark

Could you introduce your artistry?

My practice explores the digital hybridity of sculpture following the affirmation of media, exploring the nuances of identity that pivot between hyper-visibility and invisibility, offering(re-)imagined collective perspective.

My work chronicles the elevated reframing of black anatomy – unencumbered, in traction; the resulting objects emerge contextually abstracted from traditional representational aesthetics – embedded in the everyday, collective experience through methods of display.

Such ideological positioning shifts the normative function of figurative practices towards a self-sustaining (non-) fiction rooted in authenticity and criticality that allows audiences to break free from reference once and for all in a new form of hybrid realism.

What do you like most about being an artist?

What I most like about being an artist is not having to conform to the 9-5 work routine. In the past, my inability to properly participate during the confines of a normal working day had often made me feel like a failure. However, since making the move to work freelance full time in March 2021, I have never felt so in tune with my often unsociable working pattern, as well as the opportunity to listen to my body when it comes to levels of tiredness or the need to take a day for self-care.

How do you seek out opportunities?

I am fortunate to be supported by my wonderful agency MTArt who consistently or bring to my attention some phenomenal public projects through their vast creative network which has seen my practice evolve in many ways. Similarly, on a more personal level, I am lucky enough to have maintained a close working relationship with creatives who regularly send me opportunities that may be of interest, as well as invite me to be a part of their showcases under the most wonderful circumstances – such as my upcoming showcase Bad Art Presents ‘Hot Air’ (as their second Black Artists Grant Award Recipient) that centres inflatable art which allowed me to create new work for the show.

How do you cultivate your audience?

I cultivate my audiences through conversation; through dialogue. As my practice is largely theoretical, it feels important to speak about my work in my own voice. I can do this either through the work itself or through other means such as writing or participating in panels/events which presents the welcomed opportunity to connect on a more human level with my audience.

How have you developed your career?

Through consistency. I always felt that the practitioners who consistently practice and demonstrate their research aims are more successful in building a harmonious body of work. In doing so, whilst outcomes may appear to look and feel vastly different, they all have roots in no more than five (5) key themes that can be traced throughout their entire oeuvre.

What’s your biggest barrier to being an artist? How do you address it?

A huge barrier in my practice has always been an economic barrier. Working primarily with specialist 3D technology and software (and talent technicians) means there is an economic restraint in terms of the activities that I can do myself. In recent years I have spent more time learning how to write grants applications and/ or public commission project proposal documents which have been a sustainable way for me to fund my work since graduating from my Masters.

What role does the Black artist have in society?

Black artists have the power to disrupt; reframe. The role of the black artist is to shed light on histories seldom seen by the masses. In doing so, Black artists/creatives engender the critical transformation of dominant narratives that bring with it cultural heritage, colour, vibrancy and most importantly melanin.

How can we grow and empower the Black art community?

Black artists can grow and empower black/brown communities by continuing to manifest unfiltered cultural visualisations. The resulting friction then works to inspire others to do the same, referencing the often omnipresent challenges and/or triumphs of everyday life. Here lies the power of popular social networking platforms which allows all peoples a forum for dual display and discussion.

Do you feel that your art community challenges existing barriers?

I absolutely feel that my art community challenges existing barriers and assumptions. This is demonstrated every day in the continued challenge to mechanisms and structures of whiteness through the (re-)positioning of black/ brown bodies (thus our experiences), placing them at the forefront of discussion in public forums. In doing so, our continued willingness to unpack language and reinvent forms of visual language becomes instrumental in allowing black/brown people(s) the agency to articulate our position of anti-racism – as the biggest challenge of all.