KPɔ: CHILDREN OF THE GAP EXHIBITION 2016
The Children of the Gap Exhibition, hosted by The:nublk + Citizins, explored the multiplicity of ways in which a new generation of creatives bridge the gap between their experience of being born or raised in Europe whilst also being part of a more distant, but no less rich cultural heritage.
Film of the event filmed and edited by Kai Lutterodt (www.diversity-matters.org.uk)
Music: The Passion HiFi – Sleeping G
Film of the event filmed and edited by Kai Lutterodt (www.diversity-matters.org.uk)
Music: The Passion HiFi – Sleeping G
Kpɔ (knot) is a collection of garments that explore Lesley’s personal experiences as a Child of the Gap.
Dress 1: Calico and Waxed cotton print
“Why are your lips are so big?”
“Why is your nose so big?”
“Why doesn’t your hair move when the wind blows?”
Dress one reflects primary school memories of otherness and feeling as though there was no room for my African-ness at school.
Dress 2: Waxed cotton print and calico
(LAUGHTER)
“Mini okɛɛ?” (What did you say?)
Although I could understand Ga and Twi from a young age I would never speak it out of fear of being laughed at. Dress two represents the frustration of sounding extremely British whenever I attempted to speak Ga/Twi in Ghana in 2011.
Dress 3: Cotton piping cord, waxed cotton print and satin
“What do you do with your negative experiences?”
Dress Three weaves a new pattern through the art of knotting (macramé) to celebrate craftsmanship and my dual heritage. It reflects taking ownership of the space between Ghana and England in order to see the opportunities within it.
Dress 1: Calico and Waxed cotton print
“Why are your lips are so big?”
“Why is your nose so big?”
“Why doesn’t your hair move when the wind blows?”
Dress one reflects primary school memories of otherness and feeling as though there was no room for my African-ness at school.
Dress 2: Waxed cotton print and calico
(LAUGHTER)
“Mini okɛɛ?” (What did you say?)
Although I could understand Ga and Twi from a young age I would never speak it out of fear of being laughed at. Dress two represents the frustration of sounding extremely British whenever I attempted to speak Ga/Twi in Ghana in 2011.
Dress 3: Cotton piping cord, waxed cotton print and satin
“What do you do with your negative experiences?”
Dress Three weaves a new pattern through the art of knotting (macramé) to celebrate craftsmanship and my dual heritage. It reflects taking ownership of the space between Ghana and England in order to see the opportunities within it.
