D&AD Meets: POC Creatives — Visual Artist Rochelle White on co-founding Eating At the Same Table (EAST), Phantasy Art School and tokenism
“The fact that I grew up rarely seeing black people in the arts was a reality check for me”. For South London-based visual artist and curator Rochelle White, the scarcity of visible role models in the artistic realm from a young age was the catalyst that sparked her creative journey. Inspired by supportive parents and a late decision to enter university, Rochelle soon began to build an organic network of like-minded folk who shared the duality of being born in Britain and having roots within the Caribbean and Africa.
A graduate of the Camberwell College of the Arts, she works primarily within photographic mediums, investigating the fabric of cultural and racial identity resulting in a union of bold contemporary and traditional references, often loaded with symbolism specific to and rooted in unspoken diasporic understandings. As a third-generation immigrant, White’s work studies the nuances of the Black-Caribbean experience in Britain as reflected in her recent short film ‘Brother Will’ (featuring her wise grandad). Also a co-founder of Eating At the Same Table, a London based arts programme nurturing emerging fine artists of colour. Her clients include the Serpentine Galleries, Afropunk Festival and NOW Gallery.
In the second blog post of the POC Creatives series, we speak with Rochelle on creating spaces for people of colour, alternative modes of arts education and restoring self-validation in the industry.
How did you get into what you do?
As a child, I’d always gravitated to the arts. I ended up doing a foundation course in college and going down the uni route which was a super last-minute decision, but the experience helped me come into my own creatively and build my own visual language along with features in shows and exhibitions. That uni experience, being one of six Black people across the entire Fine Arts course, as well as the lack of diversity within the very Eurocentric curriculum, helped me to find my family of artists, curators and thinkers which eventually inspired me to launch Eating At the Same Table as an official support network, with Bold Tendencies’ Director of Education Sasha Morgan. It was all very organic which is how I work best.
“Build up your work and find your support group. It’s imperative to one’s survival and sanity.”
What has been your most exciting project in the last 12 months?
Planning and delivering EAST’s inaugural Phantasy Art School at Bold Tendencies last September. It was the largest event we’d ever done, and it was such a great learning experience. We invited 13 amazing artists and practitioners of colour to facilitate talks, workshops and music across a 12-hour day for around 150 people. Staying true to our name we also provided food and music, centering the facilitation of alternative modes of arts education as our mission. It was an incredibly warm and inspiring event and the feedback was honestly overwhelming! I'm definitely looking forward to this year’s event which we’re planning for November.
“Being one of six Black people across the entire Fine Arts course, as well as the lack of diversity within the very Eurocentric curriculum, helped me to find my family of artists, curators and thinkers.”
What is the most and least enjoyable part of your job?
The most enjoyable part is making genuine connections with those I meet along the way. I also enjoy seeing how far I’ve come and still have to go - it’s exciting to think of what’s to come.
I juggle this role whilst holding down a full-time job which is, at especially busy times, stressful. Burn-out is real so I’m constantly seeking and trying to implement balance within my day-to-day.
What challenges do POC creatives in your industry currently face?
There’s still a huge disparity within the industry in regards to those “at the top” of a lot of arts institutions and companies. Colourism and tokenism are still present and Blackness is also massively capitalised on so it’s important for us to be aware of these factors as we navigate.
I think there’s also the challenge of the sense of validation that co-signs from said institutions can often imply, as opposed to us validating ourselves and our communities first.
How can your industry be more inclusive of POC creatives?
By valuing our contributions: Inviting and paying us for consultancy, allowing our creative control within collaborations, acknowledgement and respect of our agency and content… hiring more creatives of colour!
“I wanted to contribute to the field with a focus on enriching black and brown people through arts and culture programming and education.”
Is there anyone in your industry that inspires you?
So many people! Particularly those who have paved the way for a lot of us.
What advice would you give young POC creatives wanting to get into the industry?
Build up your work and find your support group. It’s imperative to one’s survival and sanity. During the early stages, it’s okay to say yes to some free work if it will be beneficial for your growth. Don’t shy away from your own development as this could hinder wonderful discoveries and experimentation. Don’t watch anybody else, compare yourself to the you last year and see how far you've come!
Rochelle-white.com
@roch.rw
@eatingatthesametable
