top of page

MortiFications and However, I Can (2024) form work no. 41 and 42, a new iteration of works from The Blackness Series. They were created for Intention (the concept 'dog' encapsulates its 'dogness'), a group exhibition at Copperfield London devoted to celebrating and interrogating neurodiversity.

 

The text in MortiFications reveals the shame and trauma that I, as an individual with dyslexia, live with. The shame has been so deeply ingrained that it was an enormous challenge to create However, I Can, which acknowledges two strengths that celebrate my neurodiversity. The text in these works have been composed without the usual aid of predictive text, voice-to-text, auto-correction, or Grammarly for professionals.

The Blackness Series is an ongoing series of numbered text works commencing in 2016. It documents historical and contemporary Black lived experiences alongside broader critical social commentary. The font is typically black typeface on a black background, making the works intentionally arduous to read. Through this technique, the work attempts to accentuate how Black communities are held in the tension between hypervisibility and invisibility in our fractured world.
 

Works from this series are also held in the Government Art Collection and the collection of Melanie Keen.
 

Work No. 41: MortiFications

Diptych screenprint on plywood

910 x 910 mm, each
 

Work No. 42: However, I Can

Screenprint on plywood

300 x 300 mm

Email Copperfield for enquires

Elsa James: Copperfield gallery
Elsa James: Copperfield gallery
Elsa James: Copperfield gallery. Photo: Gillies Adamson Semple 

Above, MortifFications, photo: Copperfield. Right, However, I Can, photo: Gillies Adamson Semple 

Elsa James: Copperfield gallery. Photo: Gillies Adamson Semple 

Copperfield gallery, instalation view, left Rebeca Romero, far left Kristian Kragelund. Photo: Gillies Adamson Semple 

Elsa James: Copperfield gallery. Photo: Gillies Adamson Semple 

Copperfield gallery, instalation view, far left Alberta Whittle. Photo: Gillies Adamson Semple 

bottom of page