Victoria Miro

Khadija Saye in this space we breathe in this space we breathe Khadija Saye

Sothiou 2017 Tééré 2018 Andichurai 2018 Limoŋ 2018 Nak Bejjen 2018 Ragal 2018 Kurus 2018 Peitaw 2018 Toor-Toor 2018

Nine silkscreen prints produced in an edition of 50 Hand printed on Somerset Satin White 300gsm paper, 502mm x 613mm Courtesy of the Studio of Nicola Green and Jealous The Estate of Khadija Saye, Khadija Saye: in this space we breathe, to explore ‘the deep-rooted urge to find ‘The series was created from a personal need for spiritual a portfolio of nine silkscreen prints solace in a higher power’. grounding after experiencing trauma. The search for what by the late British-Gambian artist, is Saye’s medium for this work was offered in support of the Estate of wet plate collodion tintype, which is a gives meaning to our lives and what we hold onto in times Khadija Saye and the Khadija Saye precarious, fragile method of printing. of despair and life changing challenges. We exist in the IntoArts Programme. She said: ‘Taking inspiration from marriage of physical and spiritual remembrance. It’s in these the development of portraiture in the Khadija Saye was a Gambian-British fifteenth century, I wanted to investigate spaces in which we identify with our physical and imagined artist who tragically died in the Grenfell how a portrait could function as a way bodies. Using myself as the subject, I felt it necessary to Tower fire on 14 June 2017, aged just of announcing one’s piety, virtue, soul, physically explore how trauma is embodied in the black 24. Despite her young age, she achieved and prosperity’. By working for the first experience. Whilst exploring the notions of spirituality and recognition as a hugely talented artist time with volatile tintypes, a medium so and had already produced significant easily affected by elements outside of rituals, the process of image making became a ritual in itself. work, showing extraordinary promise the control of the artist, the theme of for the future. Saye was honoured to be surrendering control to a higher power The journey of making wet plate collodion tintypes is the youngest exhibitor in the Diaspora was somehow exemplified within the Pavilion at the 2017 Venice Biennale, materiality of the work. unique in the sense that no image can be replicated and where her works were shown alongside Saye was only able to exhibit six of the final outcome is out of the creator’s control. Within those of established artists such as Isaac these works in the Diaspora Pavilion this process, you surrender yourself to the unknown, Julien and Yinka Shonibare, who were and she agonised over which to choose. similar to what is required by all spiritual higher powers: among a number of mentors to the In 2017, in collaboration with the younger artists involved in the Diaspora Studio of Nicola Green and Jealous surrendering and sacrifice. Each tintype has its own unique Pavilion project. she went on to create a silkscreen print story to tell, a metaphor for our individual human spiritual For the Diaspora Pavilion, during of one of the exhibited works, titled journey. The process of submerging the collodion covered 2016–2017 Saye developed a series of Sothiou, using a high-resolution raw nine tintypes. Titled Dwelling: in this scan. Raw scans of the eight additional plate into a tank of silver nitrate, ignites memories of space we breathe these works explore tintypes have been recovered and baptisms, the idea of purity and how we cleanse in order the ‘migration of traditional Gambian used to make 50 portfolio sets of nine to be spiritually sound. The application of the collodion spiritual practices’. This series was part silkscreen prints, each including the transcends the photographic process, it is a reflection, of an interrogation of Saye’s heritage original signed, dated and numbered and mixed faith background visible in silkscreen print of Sothiou. One of the physical manifestation of my relationship to the deep-rooted her previous photographic work. Saye’s 50 portfolio sets of nine images was sold tradition of African spirituality. The laborious process parents were both from The Gambia; at Christie’s, London, in 2018 to benefit involved with tintypes addresses the current disposable era her mother, who died with her in the the Khadija Saye IntoArts Programme. fire, was a Christian and where materials are rapidly produced and short lived. We her father, who survives her, is Muslim. forget to live through the moment, remain in the silence, Saye described her practice as a means and work on our internal connections.’ – Khadija Saye

For sales enquiries please contact Divya Pande: [email protected] Sothiou, 2017 Hand printed on Somerset Satin White 300gsm paper 502mm x 613mm Tééré, 2018 Hand printed on Somerset Satin White 300gsm paper 502mm x 613mm Andichurai, 2018 Hand printed on Somerset Satin White 300gsm paper 502mm x 613mm Limoŋ, 2018 Hand printed on Somerset Satin White 300gsm paper 502mm x 613mm Nak Bejjen, 2018 Hand printed on Somerset Satin White 300gsm paper 502mm x 613mm Ragal, 2018 Hand printed on Somerset Satin White 300gsm paper 502mm x 613mm Kurus, 2018 Hand printed on Somerset Satin White 300gsm paper 502mm x 613mm Peitaw, 2018 Hand printed on Somerset Satin White 300gsm paper 502mm x 613mm Toor-Toor, 2018 Hand printed on Somerset Satin White 300gsm paper 502mm x 613mm Khadija Saye IntoArts Programme Rock My Soul Curated by Isaac Julien

In memory of Khadija Saye, and Through IntoUniversity, she was Njideka Akunyili Crosby inspired by her life, the Khadija Saye awarded an Arnold Foundation Sonia Boyce IntoArts Programme at IntoUniversity Scholarship for sixth form at Rugby Karon Davis was launched in October 2018. The School where she discovered her Zanele Muholi programme, founded by social historian talent for photography. IntoUniversity Wangechi Mutu and visual artist Nicola Green, brings also supported Saye in her journey to Frida Orupabo together and introduces new arts- the University for the Creative Arts Howardena Pindell focused activities at IntoUniversity where she studied photography. In Betye Saar centres across the country. disadvantaged communities across IntoUniversity serves disadvantaged the UK there are many other young Khadija Saye young people across 27 local community people who, like Khadija, could benefit Tschabalala Self learning centres, working with children from support in order to achieve their Lynette Yiadom-Boakye from age seven upwards, and opening ambitions. The Khadija Saye lntoArts young people’s minds to the power Programme will enable more young of education by providing ongoing people to follow in her footsteps and 2 October–2 November 2019 academic support, mentoring and show the originality of their voice and Victoria Miro aspiration-raising activities. their talent. 16 Wharf Road N1 7RW From the age of seven Saye’s talent was nurtured by IntoUniversity, With special thanks to the Khadija Rock My Soul borrows its title from the a national education charity. She Saye IntoArts Programme patrons & eminent black feminist scholar and attended IntoUniversity’s Carnival sponsors: Erica Bolton, Sue Charles, writer bell hooks’ 2003 book, in which Arts Programme, where her instinctive Christie’s, Darbyshire Ltd, The Studio she investigates the role of black self- creativity was ignited, nurtured and of Nicola Green, Jealous, Isaac Julien, esteem in empowering a body politic developed over successive summers. , Rebecca King Lassman, both culturally and politically. She For more than ten years Saye received M.A.R.S, Metro Imaging Ltd, writes: ‘without self-esteem everyone support with her learning and Victoria Miro, Jemma Read, Rees & Co, loses his or her sense of meaning, encouragement for her ambitions. John Purcell Paper. purpose, and power’.