‘Visible Faces in White Spaces’ is an exhibition inspired by Rhian Spencer’s work ‘Black Faces in White Spaces’ (Fine Art, Camberwell College of Art, 2016).
Spencer’s work features a series of illustrated portraits of black staff subjects and was displayed on iPads which were integrated throughout the Camberwell campus.
During his study at Camberwell College of the Arts, Spencer often felt like a representative for his entire race as he was the only black person in many of his classes, leading him to feel excluded and isolated. Spencer’s work serves as an act of activism to create an enhanced black presence within his academic community. (1)
The exhibition aimed to celebrate and centre the contributions of students and staff of colour within the University of the Arts London. Through portrait photography and storytelling, it created a visible and affirming presence within an academic institution where representation has historically been limited.
The exhibition was presented at Central Saint Martins as part of Shades of Noir’s wider social justice work.
My role
Working in collaboration with Aisha Richards, photographer Jay Lee and the Shades of Noir team, I was responsible for the operational management and production of the exhibition.
This included curatorial coordination, managing photography logistics, establishing production timelines and overseeing installation planning.
Approach
The project required careful coordination across multiple contributors and stakeholders.
I developed clear timelines and production plans to ensure the photography, print outputs and exhibition logistics aligned. Collaboration was central. The work needed to honour the intent of the project while functioning smoothly within an institutional setting.
Attention to detail was critical, from managing image production to ensuring the final presentation reflected the significance of the individuals featured.
Outcome
The exhibition was successfully delivered at Central Saint Martins, creating a dedicated space to recognise and celebrate the presence of staff and students of colour within UAL.
It brought together activism, storytelling and production in a physical environment, demonstrating how thoughtful coordination and curation can translate social justice values into tangible experience.
(1) Visible Faces in White Spaces (2018). Peekaboo We See You: Whiteness. p. 118. Shades of Noir. [Retrieved from https://issuu.com/shadesofnoir/docs/peekaboo_we_see_you_whiteness]
