Meet Rayvenn Shaleigha D’Clark: Bringing hidden figures into the public realm
- Written byStudent Communications
- Published date 04 October 2024
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We spoke to digital sculptor and LCF Associate Lecturer about her work, motivations, achievements and being named one of Forbes 30 under 30.
Please can you introduce yourself in your own words?
My name is Rayvenn Shaleigha D’Clark and I am a digital sculptor whose work commemorates hidden figures in the public realm, empowering communities of colour through visual storytelling. I am also an Associate Lecturer at LCF on Cultural and Historical Studies and a researcher across several charities such as NSEAD, Shape Arts, and Runnymede Trust.
How did your journey with digital sculpture begin?
Whilst in my second year at Chelsea College of Arts (CCW) I decided to depart from what was, at the time, a more traditional practice based on hyper-realist drawing and photography towards a more three-dimensional practice. This allowed me to experiment with body-casting which led to one of my most well-known pieces Untitled (2016).
As a result of continued experimenting with 3D practices, I started to engage with 3D scanning and printing which led to another notable work ‘I Dont See at Colour’ (2018) which sold at Saatchi soon after graduating. 3D technology is now a mainstay of my practice.
Why do you make art?
I feel compelled to make art. Many communities of colour in the West are viewed as a monolithic. This reduction of identity is something I seek to challenge through my art, whilst moving away from violent motifs to craft more complex representations of Black anatomy. I remain dedicated to capturing the intricacies and nuances of individual experiences, moving beyond the generalised (mis)conceptions.
What is your work about, and what messages do you convey through it?
My work is deeply rooted in the endeavour of honouring my anonymous peers and bringing to light the hidden figures whose stories remain untold in the public realm.
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. Recurring themes in my work include the body politić, inequality and equity through anti-violence motifs, challenging stereotypes, invisibility vs hyper-visibility and the bronze ceiling.
What or who are your primary inspirations?
Professionally, artists such as Kara Walker, Simone Leigh and Augusta Savage, Lina Iris Viktor, Lynette Yiadom-Boakye, Toyin Ojih Odutola and Sonia Boyce remain huge inspirations in my creative practice.
Personally, a huge inspiration will always be my Guyanese Grandmother Evonne, who sadly passed this year.
What piece of yours stands out the most to you? Why?
Undeniably, my recent commission titled ‘Black Renaissance’ which permanently resides in the Freedom Monument Sculpture Park in Montgomery Alabama is one of my greatest achievements. A conceptually heavy artwork, this trio of sculptures is not only a multi-million-pound commission (noteworthy not only for the size of the commission award but for being awarded to an early-career black female artist under the age of 30) but my first foray into public sculpture.
What achievements are you most proud of?
An achievement I am most proud of is my recent Forbes Award for Art and Culture (published April 2024). It was a surreal moment to see my name and profile included alongside many other phenomenal creatives and entrepreneurs in the industry. My friends and family are incredibly proud of all my achievements, but the Forbes Award really highlights how far I have come since opening my creative studio in March 2023.
After graduating what are you planning to do next?
I graduated with a distinction from my Masters in Academic Practice in Art, Design and Communication in 2023 after writing a two-year-long paper titled ‘Liquid Blackness: Linguistic Evolution of Ethnicity Classifications in Higher Education’. So for the next few months, I want to ensure that I take some time off. I am lucky enough to be able to spend a few weeks in the US to launch my latest public sculpture in Alabama and travel to neighbouring Southern states, including Atlanta, New Orleans and Texas. Following this, I will be laying the groundwork to apply for a funded PhD in 2025/26.
Why does the world need creativity?
Creativity is the gateway to cultural enrichment. Through producing art, music, literature, and traditions we reflect back to the world with depth and meaning. Creativity helps all individuals to express our collective and individual values, emotions, and shared experiences, fostering a sense of identity and community. The world would feel all the more bleak without creativity.
What does Black History Month and the theme ‘reclaiming narratives’ mean to you?
BHM is such an important opportunity to reflect upon all those who have contributed so much to our societies, yet whose stories remain untold in the public realm. In creative fields, reclaiming narratives can be a powerful way for artists, writers, and creators to reflect on their own experiences and challenge existing structures or norms, subverting mainstream narratives and offering fresh, authentic perspectives. Reclaiming narratives is an opportunity for self-empowerment; it is about voice, agency, and power— It’s a form of resistance and self-determination by giving communities the power to tell their own stories, in their own words, rejecting imposed definitions and stereotypes.
More
See more of Rayvenn’s work on UAL showcase or other platforms – @rayvenndclark_art and www.rayvenn-dclark.com.
Find out more about Black History Month 2024 at UAL.