As a media artist, photographer and scholar, Roshini Kempadoo creates photographs and multimedia artworks that interpret and re-imagine contemporary and historical experiences of the particular and everyday. She works to create montages using, layering, narration, archive material and interactivity as photographs and media art installations. She evokes women’s stories and perspectives, and is less interested in the (his)stories of national heroes or grand events.
Her artwork and photographs are influenced by a long career of documenting Caribbean communities, individuals and addressing, rights issues and inequalities. As someone of the Caribbean diaspora, she is particularly interested in exploring the relationship between British and Caribbean culture (Guyana and Trinidad in particular) and the way in which this is creatively expressed from one generation to the next. Through the use of fictional writings, photographs, recordings, music, interactivity, and networked environments, Roshini often includes autobiographical and situated perspectives to represent issues that are less visible, underrepresented or unsaid.
Roshini’s recent exhibition contributions, research projects and editorial work includes: A print series from Ghosting for the Fotofest 2018 Biennial, Houston curated by Sunil Gupta for the exhibition India: Contemporary Photographic and New Media Art; Originating the research project Creating Interference investigating contemporary artworks as creative responses of memories and historical narratives. Launched as an international network in June 2018 in association with CREAM and Iniva, the first event was held at the University of Westminster and Regent Street cinema with screenings of some 15 experimental artist films and symposia with contributions by 20 artists, critics and researchers. As contributing visual editor for Small Axe: A Caribbean Journal of Criticism (Duke University Press), Roshini has currently launched the Small Axe Visualities online platform (SXV) and joined the development team for Visual Life of Social Affliction (VLOSA) a Small Axe exhibition and publishing project funded by the Andy Warhol Trust and Ford Foundation. Her latest artwork, Face Up was curated by Paul Goodwin for the exhibition Ghosts: Keith Piper and Roshini Kempadoo (2015), Lethaby Gallery, London. Roshini published her monograph Creole in the Archive: Imagery, Presence and Location of the Caribbean Figure in 2016. She is currently working on a new art project Like Gold Dust (2019) concerned with women’s narratives set within a climate of financial inequality, economic migration, and precarious working lives.
Roshini is Director of the CREAM Doctoral Programme. For further information about her research, supervision and teaching experience also see:
We understand photography as a broad inter-disciplinary field of study based on the photographic image, set within the distinct but overlapping networks of visual art, culture and media practice. Current focus includes contemporary art, social media, digital imaging, politics and big data networks.