London’s ‘Raw Materials 27’ Exhibit Confronts Colonial Legacies

Hew Locke

British-Guyanese sculptor Hew Locke recently accepted a prestigious commission to create a piece for the British Academy, housed in a building with ties to former Prime Minister William Gladstone, whose family amassed wealth from Caribbean plantations, including some of the largest in Jamaica and British Guiana (now Guyana). Last year, Gladstone’s descendants issued an apology for their ancestor’s involvement in chattel slavery, sparking renewed calls for reparations and discussions on Britain’s colonial legacy.

For Locke, known for exploring themes of politics, greed, race, and history throughout his career, the opportunity to exhibit at such a historically charged location was irresistible. “You can’t say no to that,” Locke remarked, emphasizing his interest in juxtaposing his artwork against significant architectural backdrops.

Raw Materials 27

Born in Scotland but raised in the Caribbean, Locke’s art draws heavily from his Guyanese heritage and confronts the legacies of colonialism and the slave trade.

His latest creation, Raw Materials 27, a striking 2-meter-tall collage, will confront visitors at the British Academy. This piece, typical of Locke’s style, incorporates imagery from Guyana, the rubber barons of Manaus in Brazil, and the crumbling colonial buildings of his homeland.

Reflecting on the current prominence of his work, Locke acknowledges the fleeting nature of artistic acclaim. “We live in a precarious universe,” he explains, likening artists to antelopes in the Serengeti, attuned to shifts in cultural favor. Despite this uncertainty, Locke’s influence has grown, evidenced by his upcoming exhibition in collaboration with the British Museum, titled What Have We Here?, slated to open this October.

Locke’s journey into exploring British history stems from his childhood in Guyana, where he encountered remnants of European colonialism in everyday life. His fascination with history, coupled with a critical eye towards colonial legacies, informs his artistic practice profoundly.

Raw Materials 27 joins the esteemed collection at the British Academy, which includes works by artists like Paula Rego and Yinka Shonibare. The academy’s initiative to digitize its collection via the Bloomberg Connects app aims to broaden accessibility to art lovers worldwide.

In response to questions about institutions like the British Academy and the British Museum using black artists to address historical gaps in their collections, Locke remains pragmatic. “If you thought like that you wouldn’t do anything,” he asserts, emphasizing the messy complexities of history that permeate all institutions. For Locke, grappling with history’s burdens is an integral part of moving forward, rather than turning away from difficult truths.

Raw Materials 27 will debut at the British Academy’s Summer Showcase on July 12, offering viewers a powerful visual commentary on colonialism and its enduring impacts. Meanwhile, Locke’s exhibition at the British Museum later this year promises to further explore these themes, solidifying his role as a pivotal voice in contemporary art discourse.