Rayvenn D’Clark is a multi-talented artist based in the UK, set apart by her fearless engagement with the complexities of race and often challenging historical and contemporary perceptions through a lens that is both deeply personal and universally relevant. Each piece is a testament to her ability to weave together visual language and social commentary. Her art invites viewers to confront and reflect on the narratives that shape our understanding of race and identity. D’Clark is also an important part of the AF Collection.
Below is a question and answer-style interview with D’Clark (August 2024):
Q: Can you describe your relationship to Artemizia Foundation and how that came about?
My relationship with Artemizia has been incredibly positive and marks a significant milestone in my career as an artist. One of my first major acquisitions was through Artemizia, resulting in my artworks ‘I Don’t See in Colour’ and ‘Lenticular’ being placed in a new home in Bisbee, Arizona, within the foundation's esteemed collection. This was shortly after I joined MTArt Agency in 2021. Following this acquisition, I was honoured to be featured on the cover of the foundation’s permanent collection catalogue. This collection is truly remarkable, comprising over 1,000 works by more than a hundred renowned artists, including Yayoi Kusama, Àsìkò, Ai Weiwei, Kara Walker, Andy Warhol, Banksy, Jenny Saville, Tracey Emin, Kerry James Marshall, Jeff Koons, Pablo Picasso, Marc Chagall, Francisco de Goya, and many more. Being part of such a distinguished collection was a proud moment for me, especially as a young artist. Having multiple works acquired by an international collector not only validated my efforts but also fueled my ambition to continue creating impactful art. This experience has been a defining chapter in my artistic journey as I evolve as an artist.
Q: As a UK-based Artist why are you passionate about also displaying your sculptures in the American South?
As a UK-based artist, I am deeply passionate about displaying my sculptures in the American South because of the profound historical connections that bind our two regions. Both the UK and the American South have a complex and painful history rooted in slavery, and its legacy continues to shape our societies to this day. Alabama, in particular, was a central hub of chattel slavery and slavery action across the country, with far-reaching consequences that still resonate in contemporary life. Similarly, the UK played a significant role in the Transatlantic Slave trade, leaving an indelible mark on its former colonies and shaping the nation's history. This shared history, despite the vast distance of over 4,000 miles between each country, underscores the universal impact of slavery and its enduring influence on global nation-building.
When I was commissioned by the Equal Justice Initiative (EJI) for the Black Renaissance project, I saw it as a perfect, albeit sobering, opportunity to bridge these historical narratives. The project allowed me to explore and visually represent the intertwined histories of the UK and the American South, offering a space for reflection on the global implications of slavery. Being the only British artist commissioned by EJI was an immense honour. It provided me with the chance to bring a unique perspective, one that challenges the often sanitised depictions of slavery that are prevalent in the UK.
Through my work, I aimed to centre the human experience, focusing on the inherent dignity and resilience of those who suffered under this brutal system. By emphasising a person-first narrative, I sought to create a visual symmetry that connects us all, transcending geographical boundaries and historical divides. The reception of my work in both the US and the UK has been incredibly meaningful. It reaffirms the importance of engaging with this shared history, not only as a means of understanding the past but also as a way to foster deeper connections and empathy across cultures. This transatlantic dialogue, facilitated through art, is essential in our ongoing efforts to address the lingering effects of slavery and to contribute to a more just and equitable world.
Black Renaissance” by Rayvenn D’Clark is among the works on display at the new Freedom Monument Sculpture Park in Montgomery, Ala.
Q: You say a lot through your art, what do you think is your biggest message? And who do you hope receives it?
Through my art, the most powerful message I strive to convey is the importance of recognising and celebrating the individuality of those who have been historically marginalised or overlooked. My work is deeply rooted in the endeavour of honouring my anonymous peers and bringing to light the hidden figures who have contributed so much to our societies, yet whose stories remain untold in the public realm. Many communities of colour, particularly in the West, are often seen as a monolithic group rather than a collection of unique individuals. This reduction of identity is something I seek to challenge through my art to create sculptures depicting complex representations of black anatomy. I dedicate myself to capturing the intricacies and nuances of individual experiences, moving beyond the generalised perceptions often imposed on communities of colour. By focusing on the specific and the personal, I believe there is a universal truth that resonates with everyone—regardless of background.
My sculptures, especially those depicting complex representations of Black anatomy, are a means to elevate these stories and highlight the richness of individual lives that are often overshadowed by broader narratives. While my work speaks directly to communities of colour, I am acutely aware of the complexities that come with contemporary representations of what it means to be ‘of colour’ in today’s world. In many contexts, being ‘of colour’ can mean being singled out as the ‘other,’ as ‘different,’ or as a ‘foreigner,’ even in places that one considers ‘home’ in the West. These complexities are deeply ingrained in our societies and are often a reflection of painful histories that have yet to be fully addressed. I hope that my art reaches those who are willing to engage with these complexities, to question their own perceptions, and to empathise with the lived experiences of others.
My goal is not only to speak to those who share these experiences but also to reach those who may not fully understand them. By creating art that fosters dialogue and reflection, I aim to contribute to a broader understanding and recognition of the diverse and individual stories that make up our shared history. Ultimately, I want my work to inspire a collective effort to confront and address the histories that continue to shape our present. It is through this understanding and empathy that we can begin to move towards a more inclusive and just society, where every individual is seen and valued for who they are.
Q: You are so young, how have you been able to get your voice heard?
Consistency has been the cornerstone of my journey, allowing me to gradually step into the spotlight—a position I approach with great responsibility and care. Through persistent effort, I have been able to gain significant press and social media traction both in the UK and the US, which has given me a platform to address critical issues such as slavery, inequality, and equity. By using anti-violence motifs in my work, I strive to challenge and reshape the stereotypes that permeate today’s visual culture.
Maintaining a strong global and UK audience has been crucial, especially in cities that are beginning to embrace monuments dedicated to influential activists of colour. My age, often noted as a surprising factor, is just another dimension of my commitment to contributing authentically to the growing community of creatives of colour. I speak from a place of passion and purpose, knowing that every piece I create is a step toward broader representation and deeper conversations about our shared histories and futures.
When I first read my Forbes entry, which noted that my three bronze sculptures titled ‘Black Renaissance’—a new and original work at the Freedom Monument Sculpture Park in 2024—were ‘particularly significant not only because of the size of the commission but also because it was awarded to a Black female artist under the age of 30’, it felt surreal. It was like having an out-of-body experience because I had never considered the commission from that perspective. That moment made me fully realise the responsibility I carry at such a young age. This recognition is both exhilarating and nerve-wracking, but it has also fueled my determination to continue amplifying my voice and expanding my profile in any way I can.
I am acutely aware that my journey is not just about personal achievement; it is about paving the way for others, especially young creatives of colour, to find their voices and make their marks on the world. I will continue to embrace the challenges and opportunities that come my way, using my platform to foster dialogue, inspire change, and contribute to the ever-evolving narrative of what it means to be a young artist in today’s world.
Q: Did you ever struggle to find meaning in your work or did you always have a clear vision?
I’ve always found words like “vision” and “purpose” to be somewhat restrictive—labels that can often feel too rigid, leaving little room for growth and evolution. These concepts imply a sense of finality or absolute direction, which doesn’t fully align with how I approach my work. In reality, the meanings and intentions behind my art have shifted as I’ve grown and matured, both as an artist and as an individual. I believe that holding too many absolutes in my practice can limit the trajectory of my work. Instead, I prefer to remain open to where others find meaning in what I create. This feedback becomes a source of inspiration for future projects, allowing my work to develop organically over time. I believe that clarity will naturally emerge as I gain more experience and perspective.
In truth, I work within an industry that often tries to box artists of colour into specific categories—“they do this” or “they speak about that.” This tendency serves as a way for the industry to simplify and categorise our work, creating an indexical framework that can be limiting. However, I have never viewed my practice with such clarity or neatness. I am more focused on understanding my talents, exploring the visuals I’m drawn to, and leaving the rest open to interpretation and opportunity. This openness grants me a great deal of creative freedom. It allows me to take my time, moving from one artwork to the next without the pressure of fitting into predefined categories.
Each piece I create is a learning experience, an opportunity to explore new ideas and to grow as an artist. I find meaning in the journey itself, in the evolving process of creation, and in the dialogue that my work generates with its audience. This approach not only keeps my work dynamic but also allows me to stay true to myself, embracing the fluidity and uncertainty that are inherent to the artistic process.
Visit Artemizia Foundation to see Lenticular and I Don’t See in Colour in our collection:
“Lenticular” (left, on the wall) “I Don’t See in Colour” (right) at Artemizia Foundation