The series of quilts reimagines the flags of the states of Africa as source material for Willis Thomas’ ongoing quilt practice. Significant national symbols and colours are fragmented and rearranged into new constellations, using the folkloric quilt patterns of the American Underground Railroad as a guide. The titles are drawn from famous speeches or quotes from various Pan-Africanist leaders.

“You cannot carry out fundamental change without a certain amount of madness. In this case, it comes from nonconformity, the courage to turn your back on the old formulas, the courage to invent the future. It took the mad men of yesterday for us to be able to act with extreme clarity today. I want to be one of those mad men. … We must dare to invent the future.”

Thomas Sankara, excerpted from an interview with Swiss Journalist Jean-Philippe Rapp in 1985.

This quilt draws on the North Star quilt pattern. A signal with two messages--one to prepare to escape and the other to follow the North Star to freedom in Canada. North was the direction of traffic on the Underground Railroad.

At first glance Weems’ large and powerful works resemble abstract paintings. During the Black Lives Matter protests, campaigners wrote texts on the panels that shopkeepers had used to board up their windows as a precautionary measure. The authorities then rendered the slogans illegible by covering them with large patches of paint. The unintended result of this act of censorship was a series of painterly compositions. Weems uses her work to explore what it means to be a witness to history, through themes such as racism, sexism and discrimination.

At first glance Weems’ large and powerful works resemble abstract paintings. During the Black Lives Matter protests, campaigners wrote texts on the panels that shopkeepers had used to board up their windows as a precautionary measure. The authorities then rendered the slogans illegible by covering them with large patches of paint. The unintended result of this act of censorship was a series of painterly compositions. Weems uses her work to explore what it means to be a witness to history, through themes such as racism, sexism and discrimination.

Hybrid Mask (Fang) II recreates a mask from André Derain's collection, now housed in the Centre Pompidou Collection. The Hybrid Mask series by Yinka Shonibare are intricate, hand-painted masks that consider how African aesthetics have shaped western modernist expression. Using the African artefacts held in the collections of Georges Braque, André Derain and Amedeo Modigliani as a starting point they are a response to the widely acknowledged influence that African imagery had on major twentieth century artists and on entire western art movements, such as Cubism, Dada and Surrealism. The work exposes the conflicted relationships between ‘western’ and ‘tribal’, appropriation and admiration.

“I want to challenge notions of cultural authenticity, by creating a composite ideology, ‘a third myth’, exploring appropriation, cultural identity, and the ability to transform beyond what is expected and therefore compels us to contemplate our world differently” - Yinka Shonibare CBE RA.