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The Rebels of Breadnut Island Pen, 2025. All photos: Andrew Moller

THE REBELS OF BREADNUT ISLAND PEN

Part of the solo exhibition It Should Not Be Forgotten, Firstsite, 29 March – 6 July 2025

Eight screenprints on aluminium + red raffia

1000 x 1000 mm, each

 

Osogbo: Accompanying soundscape

Duration: 16:52 mins, loop
 

The Rebels of Breadnut Island Pen respond to The Thomas Thistlewood Papers, held at the Beinecke Rare Book and Manuscript Library at Yale University. Thistlewood (1721–1786), born in Lincolnshire, England, was a notorious enslaver, planter, diarist, and serial rapist. In 1750, he migrated to Jamaica—Britain’s wealthiest colony at the height of the transatlantic slave trade—initially working as an overseer on several plantations before purchasing Breadnut Island Pen in 1767.

Thistlewood kept extensive diaries spanning over 14,000 pages, meticulously documenting the atrocities he committed against the people he enslaved. His journals reveal the appalling conditions they endured, marked by relentless sexual violence and a brutal system of discipline. To suppress resistance, he routinely employed torture and punished escape attempts with extreme cruelty. As a final act of dehumanisation, he branded each enslaved person with his initials, “TT,” searing them into their right shoulders.

Among his victims were Phibbah and Molia. Jamaican-born Phibbah worked as a domestic servant, overseeing the upkeep of his plantation house. Thistlewood referred to her as his long-term concubine, and she bore his only son. In contrast, Molia arrived at Breadnut Island Pen as a fifteen-year-old girl of Igbo origin, having survived the harrowing Middle Passage from West Africa. After purchasing and branding Molia, Thistlewood renamed her Coobah and forced her into field labour until he eventually sold her.

"Now, thanks to a series of wall-mounted text works by James—giving an invented voice to the duo—they emerge as ingenious, defiant individuals, vividly recounting their acts of rebellion and relishing their brief moments of respite"— Louisa Buck, The Art Newspaper

My goal in crafting these speculative fictional narratives for Phibbah and Molia has been to reimagine their lives beyond the narrow and dehumanising record Thistlewood left behind. Through this approach, I seek to honour and empower their lives through a lens of solidarity and love. I focus on a period in the diaries when Thistlewood repeatedly expressed frustration at Molia’s acts of resistance. In developing these narratives, I have sought to illuminate the small, fleeting moments of respite that may have existed between brutality and gruelling labour—moments shaped by nature, cultural practices, and spiritual systems that sustained enslaved individuals and nurtured their inner strength.

Osogbo was conceived as a sonic companion to The Rebels of Breadnut Island Pen. The soundscape begins with a field recording James made during a sacred ceremony at the Osun-Osogbo Sacred Grove in Nigeria, which she attended in 2023 through the Guest Artists Space (G.A.S.) Foundation, established by Yinka Shonibare in Lagos. This sonic documentation, rooted in Yoruba spiritual traditions, became the foundation for a collaboration with renowned sound artist Trevor Mathison, who transformed the recording into a textured, immersive soundscape.

Elsa James, The Rebels of Breadnut Island Pen 1770
Elsa James, The Rebels of Breadnut Island Pen 1774
Elsa James, The Rebels of Breadnut Island Pen 1779
Elsa James, The Rebels of Breadnut Island Pen 1772
Elsa James, The Rebels of Breadnut Island Pen 1760, 1763 and 1767
Elsa James, The Rebels of Breadnut Island Pen installation view

Installation view, Firstsite. Photo: Richard Ivey

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