Welcome to 15 Questions With…, an interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unifies those responsible for the art we love.
Ibiye Camp is a British Nigerian artist based in London. Her work explores technology, trade, and material within the African Diaspora, through architecture, film and textiles. Her work has been exhibited internationally, including at the Sharjah Architecture Triennial, Triennale Milano’s The State of the Art of Architecture, the Istanbul Biennial, the Museum of Art, Architecture and Technology, and the 13th Shanghai Biennale. In 2023, Ibiye was included in the Venice Architectural Biennale within the group exhibition Guests from the Future, and in 2024, was included in Unseen Guests, a project organised by Iniva as part of the British Pavilion’s public programme at the 60th Venice Biennale. From 17 January to 7 March 2026, Camp’s new installation, layt de kam will be on show at Bonington Gallery at Nottingham Trent University. Through architectural intervention, moving image and textiles, the exhibition explores the complex interplay between infrastructure, care, and resilience along the coast of West Africa.
1. What is your earliest memory of a work of art?
My mother’s artwork. I was surrounded by her work growing up. Her sculptures were such a prominent part of our house, almost like a neighbour or flatmate that lived with us too. Her name is Sokari Douglas Camp. There was a particular series my mother made of figures pushing pushchairs, inspired by being a mother herself and East Street Market. This series is my earliest memory because I used to love to sit on the pushchair sculptures.
2. Where do you turn to when you're in need of inspiration?
I love Markets, East Street Market in particular, but all markets are pretty wonderful. I’m always inspired by the textures, sounds, and ritualistic qualities. They always make me excited. It raises questions of trade, society and labour, which are subjects that circulate in my practice.
3. What do you like to do when you need to take a break from your practice?
My calmest moments involve water. I’d ideally go for a swim when taking a break from my practice, but since becoming a mother, moments like this have shifted. So nowadays I’d say playing with my daughter, if I’m organised enough, playing in the water with her is bliss.
4. Who is your favourite artist?
Currently, Noah Davis. His work really moves me. I think about work by Sokari Douglas Camp, Simone Leigh and Billie Zangewa often; I’m in awe of all of them. They all have a way of showing scenes of everyday life, but there's a sense of supply chain and material quality that speaks of the site, location and subjects of their work.
5. What's the biggest crime an artist can commit?
Murder… In all seriousness to your question, I like to think there are not many rules in art. I think exercising new skills and techniques is crucial. For myself, I try to explore new ways of working, so I guess closing yourself in and being rigid is a worry of mine.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Nubuke Foundation in Ghana.
7. What is the worst thing about the art world?
Storage and material waste.
8. Whose opinions on art do you actually care about?
My partner, I like the way he looks at the world.
9. What trend in art makes you roll your eyes?
TikTok screen recordings are a no for me.
10. Who are the last three musical artists you listened to?
Anaiis’s ‘Deus Deus’, Beyonce's 'Break My Soul’ and Erykah Badu's 'Bag Lady’.
11. What's your favourite colour and why?
Safety Orange.
12. Is there an artistic skill you wish you were better at?
Performance art and community workshops. I can be a little shy, but the artistic moments I love and the ones I feel are most valuable are community-led. If I could work on more community-led practices, I’d feel the work is alive and living in the world beyond the artist's hands.
13. What can you tell us about your show layt de kam at Bonington Gallery?
layt de kam presents a mix of textile and video work. It explores the landscapes around temporary power ships off the coasts of various West African cities. I work with a scanning technique called photogrammetry. I scanned the landscapes around the temporary powerships and turned the scans into tactile forms by laser-cutting the point cloud stills into kola nut-dyed fabric. This process embeds the digital with the material. The solution of powerships is slightly uncertain, so the work I try to create is studies of the landscape involving traditional techniques that use ancestral techniques. I try to present the changing landscape as a symbol of care and community practices that are undeniable to who we are.
14. Which piece in the show took the longest to perfect and why?
‘Kroo Bay’ is the most recent textile piece that is in layt de kam. In the process of creating the laser-cut textile work, there were so many surprises and errors along the way. I made mistakes with laser-cutting fabric that was so delicate, and the fabric would fall apart in an unusable way. So the whole process of working with translating digital to tactile was a long process. And I’m very grateful to Tom at the Bonington Gallery for giving me time to understand this new process. Kroo Bay is a celebration piece for me as it feels like it was the conclusion to the whole research and material development of the body of work.
15. What impression do you hope people get after seeing your show?
I hope people leave feeling curious about material, and the various infrastructures we live with every day (that they maybe don’t notice). Infrastructure is designed to be invisible, but sometimes it becomes a symbol of our time.
Welcome to 15 Questions With…, an interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unifies those responsible for the art we love.
Ibiye Camp is a British Nigerian artist based in London. Her work explores technology, trade, and material within the African Diaspora, through architecture, film and textiles. Her work has been exhibited internationally, including at the Sharjah Architecture Triennial, Triennale Milano’s The State of the Art of Architecture, the Istanbul Biennial, the Museum of Art, Architecture and Technology, and the 13th Shanghai Biennale. In 2023, Ibiye was included in the Venice Architectural Biennale within the group exhibition Guests from the Future, and in 2024, was included in Unseen Guests, a project organised by Iniva as part of the British Pavilion’s public programme at the 60th Venice Biennale. From 17 January to 7 March 2026, Camp’s new installation, layt de kam will be on show at Bonington Gallery at Nottingham Trent University. Through architectural intervention, moving image and textiles, the exhibition explores the complex interplay between infrastructure, care, and resilience along the coast of West Africa.
1. What is your earliest memory of a work of art?
My mother’s artwork. I was surrounded by her work growing up. Her sculptures were such a prominent part of our house, almost like a neighbour or flatmate that lived with us too. Her name is Sokari Douglas Camp. There was a particular series my mother made of figures pushing pushchairs, inspired by being a mother herself and East Street Market. This series is my earliest memory because I used to love to sit on the pushchair sculptures.
2. Where do you turn to when you're in need of inspiration?
I love Markets, East Street Market in particular, but all markets are pretty wonderful. I’m always inspired by the textures, sounds, and ritualistic qualities. They always make me excited. It raises questions of trade, society and labour, which are subjects that circulate in my practice.
3. What do you like to do when you need to take a break from your practice?
My calmest moments involve water. I’d ideally go for a swim when taking a break from my practice, but since becoming a mother, moments like this have shifted. So nowadays I’d say playing with my daughter, if I’m organised enough, playing in the water with her is bliss.
4. Who is your favourite artist?
Currently, Noah Davis. His work really moves me. I think about work by Sokari Douglas Camp, Simone Leigh and Billie Zangewa often; I’m in awe of all of them. They all have a way of showing scenes of everyday life, but there's a sense of supply chain and material quality that speaks of the site, location and subjects of their work.
5. What's the biggest crime an artist can commit?
Murder… In all seriousness to your question, I like to think there are not many rules in art. I think exercising new skills and techniques is crucial. For myself, I try to explore new ways of working, so I guess closing yourself in and being rigid is a worry of mine.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Nubuke Foundation in Ghana.
7. What is the worst thing about the art world?
Storage and material waste.
8. Whose opinions on art do you actually care about?
My partner, I like the way he looks at the world.
9. What trend in art makes you roll your eyes?
TikTok screen recordings are a no for me.
10. Who are the last three musical artists you listened to?
Anaiis’s ‘Deus Deus’, Beyonce's 'Break My Soul’ and Erykah Badu's 'Bag Lady’.
11. What's your favourite colour and why?
Safety Orange.
12. Is there an artistic skill you wish you were better at?
Performance art and community workshops. I can be a little shy, but the artistic moments I love and the ones I feel are most valuable are community-led. If I could work on more community-led practices, I’d feel the work is alive and living in the world beyond the artist's hands.
13. What can you tell us about your show layt de kam at Bonington Gallery?
layt de kam presents a mix of textile and video work. It explores the landscapes around temporary power ships off the coasts of various West African cities. I work with a scanning technique called photogrammetry. I scanned the landscapes around the temporary powerships and turned the scans into tactile forms by laser-cutting the point cloud stills into kola nut-dyed fabric. This process embeds the digital with the material. The solution of powerships is slightly uncertain, so the work I try to create is studies of the landscape involving traditional techniques that use ancestral techniques. I try to present the changing landscape as a symbol of care and community practices that are undeniable to who we are.
14. Which piece in the show took the longest to perfect and why?
‘Kroo Bay’ is the most recent textile piece that is in layt de kam. In the process of creating the laser-cut textile work, there were so many surprises and errors along the way. I made mistakes with laser-cutting fabric that was so delicate, and the fabric would fall apart in an unusable way. So the whole process of working with translating digital to tactile was a long process. And I’m very grateful to Tom at the Bonington Gallery for giving me time to understand this new process. Kroo Bay is a celebration piece for me as it feels like it was the conclusion to the whole research and material development of the body of work.
15. What impression do you hope people get after seeing your show?
I hope people leave feeling curious about material, and the various infrastructures we live with every day (that they maybe don’t notice). Infrastructure is designed to be invisible, but sometimes it becomes a symbol of our time.
Welcome to 15 Questions With…, an interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unifies those responsible for the art we love.
Ibiye Camp is a British Nigerian artist based in London. Her work explores technology, trade, and material within the African Diaspora, through architecture, film and textiles. Her work has been exhibited internationally, including at the Sharjah Architecture Triennial, Triennale Milano’s The State of the Art of Architecture, the Istanbul Biennial, the Museum of Art, Architecture and Technology, and the 13th Shanghai Biennale. In 2023, Ibiye was included in the Venice Architectural Biennale within the group exhibition Guests from the Future, and in 2024, was included in Unseen Guests, a project organised by Iniva as part of the British Pavilion’s public programme at the 60th Venice Biennale. From 17 January to 7 March 2026, Camp’s new installation, layt de kam will be on show at Bonington Gallery at Nottingham Trent University. Through architectural intervention, moving image and textiles, the exhibition explores the complex interplay between infrastructure, care, and resilience along the coast of West Africa.
1. What is your earliest memory of a work of art?
My mother’s artwork. I was surrounded by her work growing up. Her sculptures were such a prominent part of our house, almost like a neighbour or flatmate that lived with us too. Her name is Sokari Douglas Camp. There was a particular series my mother made of figures pushing pushchairs, inspired by being a mother herself and East Street Market. This series is my earliest memory because I used to love to sit on the pushchair sculptures.
2. Where do you turn to when you're in need of inspiration?
I love Markets, East Street Market in particular, but all markets are pretty wonderful. I’m always inspired by the textures, sounds, and ritualistic qualities. They always make me excited. It raises questions of trade, society and labour, which are subjects that circulate in my practice.
3. What do you like to do when you need to take a break from your practice?
My calmest moments involve water. I’d ideally go for a swim when taking a break from my practice, but since becoming a mother, moments like this have shifted. So nowadays I’d say playing with my daughter, if I’m organised enough, playing in the water with her is bliss.
4. Who is your favourite artist?
Currently, Noah Davis. His work really moves me. I think about work by Sokari Douglas Camp, Simone Leigh and Billie Zangewa often; I’m in awe of all of them. They all have a way of showing scenes of everyday life, but there's a sense of supply chain and material quality that speaks of the site, location and subjects of their work.
5. What's the biggest crime an artist can commit?
Murder… In all seriousness to your question, I like to think there are not many rules in art. I think exercising new skills and techniques is crucial. For myself, I try to explore new ways of working, so I guess closing yourself in and being rigid is a worry of mine.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Nubuke Foundation in Ghana.
7. What is the worst thing about the art world?
Storage and material waste.
8. Whose opinions on art do you actually care about?
My partner, I like the way he looks at the world.
9. What trend in art makes you roll your eyes?
TikTok screen recordings are a no for me.
10. Who are the last three musical artists you listened to?
Anaiis’s ‘Deus Deus’, Beyonce's 'Break My Soul’ and Erykah Badu's 'Bag Lady’.
11. What's your favourite colour and why?
Safety Orange.
12. Is there an artistic skill you wish you were better at?
Performance art and community workshops. I can be a little shy, but the artistic moments I love and the ones I feel are most valuable are community-led. If I could work on more community-led practices, I’d feel the work is alive and living in the world beyond the artist's hands.
13. What can you tell us about your show layt de kam at Bonington Gallery?
layt de kam presents a mix of textile and video work. It explores the landscapes around temporary power ships off the coasts of various West African cities. I work with a scanning technique called photogrammetry. I scanned the landscapes around the temporary powerships and turned the scans into tactile forms by laser-cutting the point cloud stills into kola nut-dyed fabric. This process embeds the digital with the material. The solution of powerships is slightly uncertain, so the work I try to create is studies of the landscape involving traditional techniques that use ancestral techniques. I try to present the changing landscape as a symbol of care and community practices that are undeniable to who we are.
14. Which piece in the show took the longest to perfect and why?
‘Kroo Bay’ is the most recent textile piece that is in layt de kam. In the process of creating the laser-cut textile work, there were so many surprises and errors along the way. I made mistakes with laser-cutting fabric that was so delicate, and the fabric would fall apart in an unusable way. So the whole process of working with translating digital to tactile was a long process. And I’m very grateful to Tom at the Bonington Gallery for giving me time to understand this new process. Kroo Bay is a celebration piece for me as it feels like it was the conclusion to the whole research and material development of the body of work.
15. What impression do you hope people get after seeing your show?
I hope people leave feeling curious about material, and the various infrastructures we live with every day (that they maybe don’t notice). Infrastructure is designed to be invisible, but sometimes it becomes a symbol of our time.
Welcome to 15 Questions With…, an interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unifies those responsible for the art we love.
Ibiye Camp is a British Nigerian artist based in London. Her work explores technology, trade, and material within the African Diaspora, through architecture, film and textiles. Her work has been exhibited internationally, including at the Sharjah Architecture Triennial, Triennale Milano’s The State of the Art of Architecture, the Istanbul Biennial, the Museum of Art, Architecture and Technology, and the 13th Shanghai Biennale. In 2023, Ibiye was included in the Venice Architectural Biennale within the group exhibition Guests from the Future, and in 2024, was included in Unseen Guests, a project organised by Iniva as part of the British Pavilion’s public programme at the 60th Venice Biennale. From 17 January to 7 March 2026, Camp’s new installation, layt de kam will be on show at Bonington Gallery at Nottingham Trent University. Through architectural intervention, moving image and textiles, the exhibition explores the complex interplay between infrastructure, care, and resilience along the coast of West Africa.
1. What is your earliest memory of a work of art?
My mother’s artwork. I was surrounded by her work growing up. Her sculptures were such a prominent part of our house, almost like a neighbour or flatmate that lived with us too. Her name is Sokari Douglas Camp. There was a particular series my mother made of figures pushing pushchairs, inspired by being a mother herself and East Street Market. This series is my earliest memory because I used to love to sit on the pushchair sculptures.
2. Where do you turn to when you're in need of inspiration?
I love Markets, East Street Market in particular, but all markets are pretty wonderful. I’m always inspired by the textures, sounds, and ritualistic qualities. They always make me excited. It raises questions of trade, society and labour, which are subjects that circulate in my practice.
3. What do you like to do when you need to take a break from your practice?
My calmest moments involve water. I’d ideally go for a swim when taking a break from my practice, but since becoming a mother, moments like this have shifted. So nowadays I’d say playing with my daughter, if I’m organised enough, playing in the water with her is bliss.
4. Who is your favourite artist?
Currently, Noah Davis. His work really moves me. I think about work by Sokari Douglas Camp, Simone Leigh and Billie Zangewa often; I’m in awe of all of them. They all have a way of showing scenes of everyday life, but there's a sense of supply chain and material quality that speaks of the site, location and subjects of their work.
5. What's the biggest crime an artist can commit?
Murder… In all seriousness to your question, I like to think there are not many rules in art. I think exercising new skills and techniques is crucial. For myself, I try to explore new ways of working, so I guess closing yourself in and being rigid is a worry of mine.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Nubuke Foundation in Ghana.
7. What is the worst thing about the art world?
Storage and material waste.
8. Whose opinions on art do you actually care about?
My partner, I like the way he looks at the world.
9. What trend in art makes you roll your eyes?
TikTok screen recordings are a no for me.
10. Who are the last three musical artists you listened to?
Anaiis’s ‘Deus Deus’, Beyonce's 'Break My Soul’ and Erykah Badu's 'Bag Lady’.
11. What's your favourite colour and why?
Safety Orange.
12. Is there an artistic skill you wish you were better at?
Performance art and community workshops. I can be a little shy, but the artistic moments I love and the ones I feel are most valuable are community-led. If I could work on more community-led practices, I’d feel the work is alive and living in the world beyond the artist's hands.
13. What can you tell us about your show layt de kam at Bonington Gallery?
layt de kam presents a mix of textile and video work. It explores the landscapes around temporary power ships off the coasts of various West African cities. I work with a scanning technique called photogrammetry. I scanned the landscapes around the temporary powerships and turned the scans into tactile forms by laser-cutting the point cloud stills into kola nut-dyed fabric. This process embeds the digital with the material. The solution of powerships is slightly uncertain, so the work I try to create is studies of the landscape involving traditional techniques that use ancestral techniques. I try to present the changing landscape as a symbol of care and community practices that are undeniable to who we are.
14. Which piece in the show took the longest to perfect and why?
‘Kroo Bay’ is the most recent textile piece that is in layt de kam. In the process of creating the laser-cut textile work, there were so many surprises and errors along the way. I made mistakes with laser-cutting fabric that was so delicate, and the fabric would fall apart in an unusable way. So the whole process of working with translating digital to tactile was a long process. And I’m very grateful to Tom at the Bonington Gallery for giving me time to understand this new process. Kroo Bay is a celebration piece for me as it feels like it was the conclusion to the whole research and material development of the body of work.
15. What impression do you hope people get after seeing your show?
I hope people leave feeling curious about material, and the various infrastructures we live with every day (that they maybe don’t notice). Infrastructure is designed to be invisible, but sometimes it becomes a symbol of our time.
Welcome to 15 Questions With…, an interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unifies those responsible for the art we love.
Ibiye Camp is a British Nigerian artist based in London. Her work explores technology, trade, and material within the African Diaspora, through architecture, film and textiles. Her work has been exhibited internationally, including at the Sharjah Architecture Triennial, Triennale Milano’s The State of the Art of Architecture, the Istanbul Biennial, the Museum of Art, Architecture and Technology, and the 13th Shanghai Biennale. In 2023, Ibiye was included in the Venice Architectural Biennale within the group exhibition Guests from the Future, and in 2024, was included in Unseen Guests, a project organised by Iniva as part of the British Pavilion’s public programme at the 60th Venice Biennale. From 17 January to 7 March 2026, Camp’s new installation, layt de kam will be on show at Bonington Gallery at Nottingham Trent University. Through architectural intervention, moving image and textiles, the exhibition explores the complex interplay between infrastructure, care, and resilience along the coast of West Africa.
1. What is your earliest memory of a work of art?
My mother’s artwork. I was surrounded by her work growing up. Her sculptures were such a prominent part of our house, almost like a neighbour or flatmate that lived with us too. Her name is Sokari Douglas Camp. There was a particular series my mother made of figures pushing pushchairs, inspired by being a mother herself and East Street Market. This series is my earliest memory because I used to love to sit on the pushchair sculptures.
2. Where do you turn to when you're in need of inspiration?
I love Markets, East Street Market in particular, but all markets are pretty wonderful. I’m always inspired by the textures, sounds, and ritualistic qualities. They always make me excited. It raises questions of trade, society and labour, which are subjects that circulate in my practice.
3. What do you like to do when you need to take a break from your practice?
My calmest moments involve water. I’d ideally go for a swim when taking a break from my practice, but since becoming a mother, moments like this have shifted. So nowadays I’d say playing with my daughter, if I’m organised enough, playing in the water with her is bliss.
4. Who is your favourite artist?
Currently, Noah Davis. His work really moves me. I think about work by Sokari Douglas Camp, Simone Leigh and Billie Zangewa often; I’m in awe of all of them. They all have a way of showing scenes of everyday life, but there's a sense of supply chain and material quality that speaks of the site, location and subjects of their work.
5. What's the biggest crime an artist can commit?
Murder… In all seriousness to your question, I like to think there are not many rules in art. I think exercising new skills and techniques is crucial. For myself, I try to explore new ways of working, so I guess closing yourself in and being rigid is a worry of mine.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Nubuke Foundation in Ghana.
7. What is the worst thing about the art world?
Storage and material waste.
8. Whose opinions on art do you actually care about?
My partner, I like the way he looks at the world.
9. What trend in art makes you roll your eyes?
TikTok screen recordings are a no for me.
10. Who are the last three musical artists you listened to?
Anaiis’s ‘Deus Deus’, Beyonce's 'Break My Soul’ and Erykah Badu's 'Bag Lady’.
11. What's your favourite colour and why?
Safety Orange.
12. Is there an artistic skill you wish you were better at?
Performance art and community workshops. I can be a little shy, but the artistic moments I love and the ones I feel are most valuable are community-led. If I could work on more community-led practices, I’d feel the work is alive and living in the world beyond the artist's hands.
13. What can you tell us about your show layt de kam at Bonington Gallery?
layt de kam presents a mix of textile and video work. It explores the landscapes around temporary power ships off the coasts of various West African cities. I work with a scanning technique called photogrammetry. I scanned the landscapes around the temporary powerships and turned the scans into tactile forms by laser-cutting the point cloud stills into kola nut-dyed fabric. This process embeds the digital with the material. The solution of powerships is slightly uncertain, so the work I try to create is studies of the landscape involving traditional techniques that use ancestral techniques. I try to present the changing landscape as a symbol of care and community practices that are undeniable to who we are.
14. Which piece in the show took the longest to perfect and why?
‘Kroo Bay’ is the most recent textile piece that is in layt de kam. In the process of creating the laser-cut textile work, there were so many surprises and errors along the way. I made mistakes with laser-cutting fabric that was so delicate, and the fabric would fall apart in an unusable way. So the whole process of working with translating digital to tactile was a long process. And I’m very grateful to Tom at the Bonington Gallery for giving me time to understand this new process. Kroo Bay is a celebration piece for me as it feels like it was the conclusion to the whole research and material development of the body of work.
15. What impression do you hope people get after seeing your show?
I hope people leave feeling curious about material, and the various infrastructures we live with every day (that they maybe don’t notice). Infrastructure is designed to be invisible, but sometimes it becomes a symbol of our time.
Welcome to 15 Questions With…, an interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unifies those responsible for the art we love.
Ibiye Camp is a British Nigerian artist based in London. Her work explores technology, trade, and material within the African Diaspora, through architecture, film and textiles. Her work has been exhibited internationally, including at the Sharjah Architecture Triennial, Triennale Milano’s The State of the Art of Architecture, the Istanbul Biennial, the Museum of Art, Architecture and Technology, and the 13th Shanghai Biennale. In 2023, Ibiye was included in the Venice Architectural Biennale within the group exhibition Guests from the Future, and in 2024, was included in Unseen Guests, a project organised by Iniva as part of the British Pavilion’s public programme at the 60th Venice Biennale. From 17 January to 7 March 2026, Camp’s new installation, layt de kam will be on show at Bonington Gallery at Nottingham Trent University. Through architectural intervention, moving image and textiles, the exhibition explores the complex interplay between infrastructure, care, and resilience along the coast of West Africa.
1. What is your earliest memory of a work of art?
My mother’s artwork. I was surrounded by her work growing up. Her sculptures were such a prominent part of our house, almost like a neighbour or flatmate that lived with us too. Her name is Sokari Douglas Camp. There was a particular series my mother made of figures pushing pushchairs, inspired by being a mother herself and East Street Market. This series is my earliest memory because I used to love to sit on the pushchair sculptures.
2. Where do you turn to when you're in need of inspiration?
I love Markets, East Street Market in particular, but all markets are pretty wonderful. I’m always inspired by the textures, sounds, and ritualistic qualities. They always make me excited. It raises questions of trade, society and labour, which are subjects that circulate in my practice.
3. What do you like to do when you need to take a break from your practice?
My calmest moments involve water. I’d ideally go for a swim when taking a break from my practice, but since becoming a mother, moments like this have shifted. So nowadays I’d say playing with my daughter, if I’m organised enough, playing in the water with her is bliss.
4. Who is your favourite artist?
Currently, Noah Davis. His work really moves me. I think about work by Sokari Douglas Camp, Simone Leigh and Billie Zangewa often; I’m in awe of all of them. They all have a way of showing scenes of everyday life, but there's a sense of supply chain and material quality that speaks of the site, location and subjects of their work.
5. What's the biggest crime an artist can commit?
Murder… In all seriousness to your question, I like to think there are not many rules in art. I think exercising new skills and techniques is crucial. For myself, I try to explore new ways of working, so I guess closing yourself in and being rigid is a worry of mine.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Nubuke Foundation in Ghana.
7. What is the worst thing about the art world?
Storage and material waste.
8. Whose opinions on art do you actually care about?
My partner, I like the way he looks at the world.
9. What trend in art makes you roll your eyes?
TikTok screen recordings are a no for me.
10. Who are the last three musical artists you listened to?
Anaiis’s ‘Deus Deus’, Beyonce's 'Break My Soul’ and Erykah Badu's 'Bag Lady’.
11. What's your favourite colour and why?
Safety Orange.
12. Is there an artistic skill you wish you were better at?
Performance art and community workshops. I can be a little shy, but the artistic moments I love and the ones I feel are most valuable are community-led. If I could work on more community-led practices, I’d feel the work is alive and living in the world beyond the artist's hands.
13. What can you tell us about your show layt de kam at Bonington Gallery?
layt de kam presents a mix of textile and video work. It explores the landscapes around temporary power ships off the coasts of various West African cities. I work with a scanning technique called photogrammetry. I scanned the landscapes around the temporary powerships and turned the scans into tactile forms by laser-cutting the point cloud stills into kola nut-dyed fabric. This process embeds the digital with the material. The solution of powerships is slightly uncertain, so the work I try to create is studies of the landscape involving traditional techniques that use ancestral techniques. I try to present the changing landscape as a symbol of care and community practices that are undeniable to who we are.
14. Which piece in the show took the longest to perfect and why?
‘Kroo Bay’ is the most recent textile piece that is in layt de kam. In the process of creating the laser-cut textile work, there were so many surprises and errors along the way. I made mistakes with laser-cutting fabric that was so delicate, and the fabric would fall apart in an unusable way. So the whole process of working with translating digital to tactile was a long process. And I’m very grateful to Tom at the Bonington Gallery for giving me time to understand this new process. Kroo Bay is a celebration piece for me as it feels like it was the conclusion to the whole research and material development of the body of work.
15. What impression do you hope people get after seeing your show?
I hope people leave feeling curious about material, and the various infrastructures we live with every day (that they maybe don’t notice). Infrastructure is designed to be invisible, but sometimes it becomes a symbol of our time.
Welcome to 15 Questions With…, an interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unifies those responsible for the art we love.
Ibiye Camp is a British Nigerian artist based in London. Her work explores technology, trade, and material within the African Diaspora, through architecture, film and textiles. Her work has been exhibited internationally, including at the Sharjah Architecture Triennial, Triennale Milano’s The State of the Art of Architecture, the Istanbul Biennial, the Museum of Art, Architecture and Technology, and the 13th Shanghai Biennale. In 2023, Ibiye was included in the Venice Architectural Biennale within the group exhibition Guests from the Future, and in 2024, was included in Unseen Guests, a project organised by Iniva as part of the British Pavilion’s public programme at the 60th Venice Biennale. From 17 January to 7 March 2026, Camp’s new installation, layt de kam will be on show at Bonington Gallery at Nottingham Trent University. Through architectural intervention, moving image and textiles, the exhibition explores the complex interplay between infrastructure, care, and resilience along the coast of West Africa.
1. What is your earliest memory of a work of art?
My mother’s artwork. I was surrounded by her work growing up. Her sculptures were such a prominent part of our house, almost like a neighbour or flatmate that lived with us too. Her name is Sokari Douglas Camp. There was a particular series my mother made of figures pushing pushchairs, inspired by being a mother herself and East Street Market. This series is my earliest memory because I used to love to sit on the pushchair sculptures.
2. Where do you turn to when you're in need of inspiration?
I love Markets, East Street Market in particular, but all markets are pretty wonderful. I’m always inspired by the textures, sounds, and ritualistic qualities. They always make me excited. It raises questions of trade, society and labour, which are subjects that circulate in my practice.
3. What do you like to do when you need to take a break from your practice?
My calmest moments involve water. I’d ideally go for a swim when taking a break from my practice, but since becoming a mother, moments like this have shifted. So nowadays I’d say playing with my daughter, if I’m organised enough, playing in the water with her is bliss.
4. Who is your favourite artist?
Currently, Noah Davis. His work really moves me. I think about work by Sokari Douglas Camp, Simone Leigh and Billie Zangewa often; I’m in awe of all of them. They all have a way of showing scenes of everyday life, but there's a sense of supply chain and material quality that speaks of the site, location and subjects of their work.
5. What's the biggest crime an artist can commit?
Murder… In all seriousness to your question, I like to think there are not many rules in art. I think exercising new skills and techniques is crucial. For myself, I try to explore new ways of working, so I guess closing yourself in and being rigid is a worry of mine.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Nubuke Foundation in Ghana.
7. What is the worst thing about the art world?
Storage and material waste.
8. Whose opinions on art do you actually care about?
My partner, I like the way he looks at the world.
9. What trend in art makes you roll your eyes?
TikTok screen recordings are a no for me.
10. Who are the last three musical artists you listened to?
Anaiis’s ‘Deus Deus’, Beyonce's 'Break My Soul’ and Erykah Badu's 'Bag Lady’.
11. What's your favourite colour and why?
Safety Orange.
12. Is there an artistic skill you wish you were better at?
Performance art and community workshops. I can be a little shy, but the artistic moments I love and the ones I feel are most valuable are community-led. If I could work on more community-led practices, I’d feel the work is alive and living in the world beyond the artist's hands.
13. What can you tell us about your show layt de kam at Bonington Gallery?
layt de kam presents a mix of textile and video work. It explores the landscapes around temporary power ships off the coasts of various West African cities. I work with a scanning technique called photogrammetry. I scanned the landscapes around the temporary powerships and turned the scans into tactile forms by laser-cutting the point cloud stills into kola nut-dyed fabric. This process embeds the digital with the material. The solution of powerships is slightly uncertain, so the work I try to create is studies of the landscape involving traditional techniques that use ancestral techniques. I try to present the changing landscape as a symbol of care and community practices that are undeniable to who we are.
14. Which piece in the show took the longest to perfect and why?
‘Kroo Bay’ is the most recent textile piece that is in layt de kam. In the process of creating the laser-cut textile work, there were so many surprises and errors along the way. I made mistakes with laser-cutting fabric that was so delicate, and the fabric would fall apart in an unusable way. So the whole process of working with translating digital to tactile was a long process. And I’m very grateful to Tom at the Bonington Gallery for giving me time to understand this new process. Kroo Bay is a celebration piece for me as it feels like it was the conclusion to the whole research and material development of the body of work.
15. What impression do you hope people get after seeing your show?
I hope people leave feeling curious about material, and the various infrastructures we live with every day (that they maybe don’t notice). Infrastructure is designed to be invisible, but sometimes it becomes a symbol of our time.
Welcome to 15 Questions With…, an interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unifies those responsible for the art we love.
Ibiye Camp is a British Nigerian artist based in London. Her work explores technology, trade, and material within the African Diaspora, through architecture, film and textiles. Her work has been exhibited internationally, including at the Sharjah Architecture Triennial, Triennale Milano’s The State of the Art of Architecture, the Istanbul Biennial, the Museum of Art, Architecture and Technology, and the 13th Shanghai Biennale. In 2023, Ibiye was included in the Venice Architectural Biennale within the group exhibition Guests from the Future, and in 2024, was included in Unseen Guests, a project organised by Iniva as part of the British Pavilion’s public programme at the 60th Venice Biennale. From 17 January to 7 March 2026, Camp’s new installation, layt de kam will be on show at Bonington Gallery at Nottingham Trent University. Through architectural intervention, moving image and textiles, the exhibition explores the complex interplay between infrastructure, care, and resilience along the coast of West Africa.
1. What is your earliest memory of a work of art?
My mother’s artwork. I was surrounded by her work growing up. Her sculptures were such a prominent part of our house, almost like a neighbour or flatmate that lived with us too. Her name is Sokari Douglas Camp. There was a particular series my mother made of figures pushing pushchairs, inspired by being a mother herself and East Street Market. This series is my earliest memory because I used to love to sit on the pushchair sculptures.
2. Where do you turn to when you're in need of inspiration?
I love Markets, East Street Market in particular, but all markets are pretty wonderful. I’m always inspired by the textures, sounds, and ritualistic qualities. They always make me excited. It raises questions of trade, society and labour, which are subjects that circulate in my practice.
3. What do you like to do when you need to take a break from your practice?
My calmest moments involve water. I’d ideally go for a swim when taking a break from my practice, but since becoming a mother, moments like this have shifted. So nowadays I’d say playing with my daughter, if I’m organised enough, playing in the water with her is bliss.
4. Who is your favourite artist?
Currently, Noah Davis. His work really moves me. I think about work by Sokari Douglas Camp, Simone Leigh and Billie Zangewa often; I’m in awe of all of them. They all have a way of showing scenes of everyday life, but there's a sense of supply chain and material quality that speaks of the site, location and subjects of their work.
5. What's the biggest crime an artist can commit?
Murder… In all seriousness to your question, I like to think there are not many rules in art. I think exercising new skills and techniques is crucial. For myself, I try to explore new ways of working, so I guess closing yourself in and being rigid is a worry of mine.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Nubuke Foundation in Ghana.
7. What is the worst thing about the art world?
Storage and material waste.
8. Whose opinions on art do you actually care about?
My partner, I like the way he looks at the world.
9. What trend in art makes you roll your eyes?
TikTok screen recordings are a no for me.
10. Who are the last three musical artists you listened to?
Anaiis’s ‘Deus Deus’, Beyonce's 'Break My Soul’ and Erykah Badu's 'Bag Lady’.
11. What's your favourite colour and why?
Safety Orange.
12. Is there an artistic skill you wish you were better at?
Performance art and community workshops. I can be a little shy, but the artistic moments I love and the ones I feel are most valuable are community-led. If I could work on more community-led practices, I’d feel the work is alive and living in the world beyond the artist's hands.
13. What can you tell us about your show layt de kam at Bonington Gallery?
layt de kam presents a mix of textile and video work. It explores the landscapes around temporary power ships off the coasts of various West African cities. I work with a scanning technique called photogrammetry. I scanned the landscapes around the temporary powerships and turned the scans into tactile forms by laser-cutting the point cloud stills into kola nut-dyed fabric. This process embeds the digital with the material. The solution of powerships is slightly uncertain, so the work I try to create is studies of the landscape involving traditional techniques that use ancestral techniques. I try to present the changing landscape as a symbol of care and community practices that are undeniable to who we are.
14. Which piece in the show took the longest to perfect and why?
‘Kroo Bay’ is the most recent textile piece that is in layt de kam. In the process of creating the laser-cut textile work, there were so many surprises and errors along the way. I made mistakes with laser-cutting fabric that was so delicate, and the fabric would fall apart in an unusable way. So the whole process of working with translating digital to tactile was a long process. And I’m very grateful to Tom at the Bonington Gallery for giving me time to understand this new process. Kroo Bay is a celebration piece for me as it feels like it was the conclusion to the whole research and material development of the body of work.
15. What impression do you hope people get after seeing your show?
I hope people leave feeling curious about material, and the various infrastructures we live with every day (that they maybe don’t notice). Infrastructure is designed to be invisible, but sometimes it becomes a symbol of our time.
Welcome to 15 Questions With…, an interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unifies those responsible for the art we love.
Ibiye Camp is a British Nigerian artist based in London. Her work explores technology, trade, and material within the African Diaspora, through architecture, film and textiles. Her work has been exhibited internationally, including at the Sharjah Architecture Triennial, Triennale Milano’s The State of the Art of Architecture, the Istanbul Biennial, the Museum of Art, Architecture and Technology, and the 13th Shanghai Biennale. In 2023, Ibiye was included in the Venice Architectural Biennale within the group exhibition Guests from the Future, and in 2024, was included in Unseen Guests, a project organised by Iniva as part of the British Pavilion’s public programme at the 60th Venice Biennale. From 17 January to 7 March 2026, Camp’s new installation, layt de kam will be on show at Bonington Gallery at Nottingham Trent University. Through architectural intervention, moving image and textiles, the exhibition explores the complex interplay between infrastructure, care, and resilience along the coast of West Africa.
1. What is your earliest memory of a work of art?
My mother’s artwork. I was surrounded by her work growing up. Her sculptures were such a prominent part of our house, almost like a neighbour or flatmate that lived with us too. Her name is Sokari Douglas Camp. There was a particular series my mother made of figures pushing pushchairs, inspired by being a mother herself and East Street Market. This series is my earliest memory because I used to love to sit on the pushchair sculptures.
2. Where do you turn to when you're in need of inspiration?
I love Markets, East Street Market in particular, but all markets are pretty wonderful. I’m always inspired by the textures, sounds, and ritualistic qualities. They always make me excited. It raises questions of trade, society and labour, which are subjects that circulate in my practice.
3. What do you like to do when you need to take a break from your practice?
My calmest moments involve water. I’d ideally go for a swim when taking a break from my practice, but since becoming a mother, moments like this have shifted. So nowadays I’d say playing with my daughter, if I’m organised enough, playing in the water with her is bliss.
4. Who is your favourite artist?
Currently, Noah Davis. His work really moves me. I think about work by Sokari Douglas Camp, Simone Leigh and Billie Zangewa often; I’m in awe of all of them. They all have a way of showing scenes of everyday life, but there's a sense of supply chain and material quality that speaks of the site, location and subjects of their work.
5. What's the biggest crime an artist can commit?
Murder… In all seriousness to your question, I like to think there are not many rules in art. I think exercising new skills and techniques is crucial. For myself, I try to explore new ways of working, so I guess closing yourself in and being rigid is a worry of mine.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Nubuke Foundation in Ghana.
7. What is the worst thing about the art world?
Storage and material waste.
8. Whose opinions on art do you actually care about?
My partner, I like the way he looks at the world.
9. What trend in art makes you roll your eyes?
TikTok screen recordings are a no for me.
10. Who are the last three musical artists you listened to?
Anaiis’s ‘Deus Deus’, Beyonce's 'Break My Soul’ and Erykah Badu's 'Bag Lady’.
11. What's your favourite colour and why?
Safety Orange.
12. Is there an artistic skill you wish you were better at?
Performance art and community workshops. I can be a little shy, but the artistic moments I love and the ones I feel are most valuable are community-led. If I could work on more community-led practices, I’d feel the work is alive and living in the world beyond the artist's hands.
13. What can you tell us about your show layt de kam at Bonington Gallery?
layt de kam presents a mix of textile and video work. It explores the landscapes around temporary power ships off the coasts of various West African cities. I work with a scanning technique called photogrammetry. I scanned the landscapes around the temporary powerships and turned the scans into tactile forms by laser-cutting the point cloud stills into kola nut-dyed fabric. This process embeds the digital with the material. The solution of powerships is slightly uncertain, so the work I try to create is studies of the landscape involving traditional techniques that use ancestral techniques. I try to present the changing landscape as a symbol of care and community practices that are undeniable to who we are.
14. Which piece in the show took the longest to perfect and why?
‘Kroo Bay’ is the most recent textile piece that is in layt de kam. In the process of creating the laser-cut textile work, there were so many surprises and errors along the way. I made mistakes with laser-cutting fabric that was so delicate, and the fabric would fall apart in an unusable way. So the whole process of working with translating digital to tactile was a long process. And I’m very grateful to Tom at the Bonington Gallery for giving me time to understand this new process. Kroo Bay is a celebration piece for me as it feels like it was the conclusion to the whole research and material development of the body of work.
15. What impression do you hope people get after seeing your show?
I hope people leave feeling curious about material, and the various infrastructures we live with every day (that they maybe don’t notice). Infrastructure is designed to be invisible, but sometimes it becomes a symbol of our time.
Welcome to 15 Questions With…, an interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unifies those responsible for the art we love.
Ibiye Camp is a British Nigerian artist based in London. Her work explores technology, trade, and material within the African Diaspora, through architecture, film and textiles. Her work has been exhibited internationally, including at the Sharjah Architecture Triennial, Triennale Milano’s The State of the Art of Architecture, the Istanbul Biennial, the Museum of Art, Architecture and Technology, and the 13th Shanghai Biennale. In 2023, Ibiye was included in the Venice Architectural Biennale within the group exhibition Guests from the Future, and in 2024, was included in Unseen Guests, a project organised by Iniva as part of the British Pavilion’s public programme at the 60th Venice Biennale. From 17 January to 7 March 2026, Camp’s new installation, layt de kam will be on show at Bonington Gallery at Nottingham Trent University. Through architectural intervention, moving image and textiles, the exhibition explores the complex interplay between infrastructure, care, and resilience along the coast of West Africa.
1. What is your earliest memory of a work of art?
My mother’s artwork. I was surrounded by her work growing up. Her sculptures were such a prominent part of our house, almost like a neighbour or flatmate that lived with us too. Her name is Sokari Douglas Camp. There was a particular series my mother made of figures pushing pushchairs, inspired by being a mother herself and East Street Market. This series is my earliest memory because I used to love to sit on the pushchair sculptures.
2. Where do you turn to when you're in need of inspiration?
I love Markets, East Street Market in particular, but all markets are pretty wonderful. I’m always inspired by the textures, sounds, and ritualistic qualities. They always make me excited. It raises questions of trade, society and labour, which are subjects that circulate in my practice.
3. What do you like to do when you need to take a break from your practice?
My calmest moments involve water. I’d ideally go for a swim when taking a break from my practice, but since becoming a mother, moments like this have shifted. So nowadays I’d say playing with my daughter, if I’m organised enough, playing in the water with her is bliss.
4. Who is your favourite artist?
Currently, Noah Davis. His work really moves me. I think about work by Sokari Douglas Camp, Simone Leigh and Billie Zangewa often; I’m in awe of all of them. They all have a way of showing scenes of everyday life, but there's a sense of supply chain and material quality that speaks of the site, location and subjects of their work.
5. What's the biggest crime an artist can commit?
Murder… In all seriousness to your question, I like to think there are not many rules in art. I think exercising new skills and techniques is crucial. For myself, I try to explore new ways of working, so I guess closing yourself in and being rigid is a worry of mine.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Nubuke Foundation in Ghana.
7. What is the worst thing about the art world?
Storage and material waste.
8. Whose opinions on art do you actually care about?
My partner, I like the way he looks at the world.
9. What trend in art makes you roll your eyes?
TikTok screen recordings are a no for me.
10. Who are the last three musical artists you listened to?
Anaiis’s ‘Deus Deus’, Beyonce's 'Break My Soul’ and Erykah Badu's 'Bag Lady’.
11. What's your favourite colour and why?
Safety Orange.
12. Is there an artistic skill you wish you were better at?
Performance art and community workshops. I can be a little shy, but the artistic moments I love and the ones I feel are most valuable are community-led. If I could work on more community-led practices, I’d feel the work is alive and living in the world beyond the artist's hands.
13. What can you tell us about your show layt de kam at Bonington Gallery?
layt de kam presents a mix of textile and video work. It explores the landscapes around temporary power ships off the coasts of various West African cities. I work with a scanning technique called photogrammetry. I scanned the landscapes around the temporary powerships and turned the scans into tactile forms by laser-cutting the point cloud stills into kola nut-dyed fabric. This process embeds the digital with the material. The solution of powerships is slightly uncertain, so the work I try to create is studies of the landscape involving traditional techniques that use ancestral techniques. I try to present the changing landscape as a symbol of care and community practices that are undeniable to who we are.
14. Which piece in the show took the longest to perfect and why?
‘Kroo Bay’ is the most recent textile piece that is in layt de kam. In the process of creating the laser-cut textile work, there were so many surprises and errors along the way. I made mistakes with laser-cutting fabric that was so delicate, and the fabric would fall apart in an unusable way. So the whole process of working with translating digital to tactile was a long process. And I’m very grateful to Tom at the Bonington Gallery for giving me time to understand this new process. Kroo Bay is a celebration piece for me as it feels like it was the conclusion to the whole research and material development of the body of work.
15. What impression do you hope people get after seeing your show?
I hope people leave feeling curious about material, and the various infrastructures we live with every day (that they maybe don’t notice). Infrastructure is designed to be invisible, but sometimes it becomes a symbol of our time.
Welcome to 15 Questions With…, an interview series in which art writer Gary Grimes picks the brains of artists, curators and other creatives to understand what makes them tick through a series of quick-fire questions. This series aims to showcase the varying approaches creatives take to making art and how their relationships to the so-called art world differ, but also reveal what unifies those responsible for the art we love.
Ibiye Camp is a British Nigerian artist based in London. Her work explores technology, trade, and material within the African Diaspora, through architecture, film and textiles. Her work has been exhibited internationally, including at the Sharjah Architecture Triennial, Triennale Milano’s The State of the Art of Architecture, the Istanbul Biennial, the Museum of Art, Architecture and Technology, and the 13th Shanghai Biennale. In 2023, Ibiye was included in the Venice Architectural Biennale within the group exhibition Guests from the Future, and in 2024, was included in Unseen Guests, a project organised by Iniva as part of the British Pavilion’s public programme at the 60th Venice Biennale. From 17 January to 7 March 2026, Camp’s new installation, layt de kam will be on show at Bonington Gallery at Nottingham Trent University. Through architectural intervention, moving image and textiles, the exhibition explores the complex interplay between infrastructure, care, and resilience along the coast of West Africa.
1. What is your earliest memory of a work of art?
My mother’s artwork. I was surrounded by her work growing up. Her sculptures were such a prominent part of our house, almost like a neighbour or flatmate that lived with us too. Her name is Sokari Douglas Camp. There was a particular series my mother made of figures pushing pushchairs, inspired by being a mother herself and East Street Market. This series is my earliest memory because I used to love to sit on the pushchair sculptures.
2. Where do you turn to when you're in need of inspiration?
I love Markets, East Street Market in particular, but all markets are pretty wonderful. I’m always inspired by the textures, sounds, and ritualistic qualities. They always make me excited. It raises questions of trade, society and labour, which are subjects that circulate in my practice.
3. What do you like to do when you need to take a break from your practice?
My calmest moments involve water. I’d ideally go for a swim when taking a break from my practice, but since becoming a mother, moments like this have shifted. So nowadays I’d say playing with my daughter, if I’m organised enough, playing in the water with her is bliss.
4. Who is your favourite artist?
Currently, Noah Davis. His work really moves me. I think about work by Sokari Douglas Camp, Simone Leigh and Billie Zangewa often; I’m in awe of all of them. They all have a way of showing scenes of everyday life, but there's a sense of supply chain and material quality that speaks of the site, location and subjects of their work.
5. What's the biggest crime an artist can commit?
Murder… In all seriousness to your question, I like to think there are not many rules in art. I think exercising new skills and techniques is crucial. For myself, I try to explore new ways of working, so I guess closing yourself in and being rigid is a worry of mine.
6. Which gallery or museum should everyone try to visit at least once in their life?
The Nubuke Foundation in Ghana.
7. What is the worst thing about the art world?
Storage and material waste.
8. Whose opinions on art do you actually care about?
My partner, I like the way he looks at the world.
9. What trend in art makes you roll your eyes?
TikTok screen recordings are a no for me.
10. Who are the last three musical artists you listened to?
Anaiis’s ‘Deus Deus’, Beyonce's 'Break My Soul’ and Erykah Badu's 'Bag Lady’.
11. What's your favourite colour and why?
Safety Orange.
12. Is there an artistic skill you wish you were better at?
Performance art and community workshops. I can be a little shy, but the artistic moments I love and the ones I feel are most valuable are community-led. If I could work on more community-led practices, I’d feel the work is alive and living in the world beyond the artist's hands.
13. What can you tell us about your show layt de kam at Bonington Gallery?
layt de kam presents a mix of textile and video work. It explores the landscapes around temporary power ships off the coasts of various West African cities. I work with a scanning technique called photogrammetry. I scanned the landscapes around the temporary powerships and turned the scans into tactile forms by laser-cutting the point cloud stills into kola nut-dyed fabric. This process embeds the digital with the material. The solution of powerships is slightly uncertain, so the work I try to create is studies of the landscape involving traditional techniques that use ancestral techniques. I try to present the changing landscape as a symbol of care and community practices that are undeniable to who we are.
14. Which piece in the show took the longest to perfect and why?
‘Kroo Bay’ is the most recent textile piece that is in layt de kam. In the process of creating the laser-cut textile work, there were so many surprises and errors along the way. I made mistakes with laser-cutting fabric that was so delicate, and the fabric would fall apart in an unusable way. So the whole process of working with translating digital to tactile was a long process. And I’m very grateful to Tom at the Bonington Gallery for giving me time to understand this new process. Kroo Bay is a celebration piece for me as it feels like it was the conclusion to the whole research and material development of the body of work.
15. What impression do you hope people get after seeing your show?
I hope people leave feeling curious about material, and the various infrastructures we live with every day (that they maybe don’t notice). Infrastructure is designed to be invisible, but sometimes it becomes a symbol of our time.
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