Appropriating found objects and refashioning them to new aesthetics, Dozie Kanu creates sculptures and photography that are inherently disobedient and stubbornly slippery. They resist classification and exist instead as communicative or performative objects. Kanu’s ongoing investigation into the limits of form, functionality, materiality and usefulness are often filtered through a personal lens drawn from the artist’s lived experiences.

In the artist’s debut solo exhibition at Project Native Informant, Owe Deed, One Deep, 2020, every sculpture remixes and modifies found objects, with the visible rust as a reminder of how readily items are discarded once they are deemed no longer productive. The repurposing of objects deemed useless, the artist honours and reanimates the people whose labour gave them function. In extending the lives of these unwanted items, he perpetuates the existence of those who brought them into being. His memorialisation is a site of collective mourning of which has not yet ceased to exist, acknowledging that the pathways and legacies of the oppressive systems of the past continue to characterize the present.

Born and raised in Houston, Texas to Nigerian immigrant parents, Kanu initially intended to study film directing but shifted his focus to production design for film and theatre, receiving his BFA from the School of Visual Arts, New York, in 2016. Dozie Kanu’s first solo institutional exhibition was at the Studio Museum of Harlem in 2019.

Last year, Kanu opened his second solo exhibition at Project Native Informant, Tinted Spirit. In May 2022, the public sculpture commission On Elbows was shown as part of the Public Art Fund exhibition Black Atlantics. In September 2022, Cordyceps Gaud Adversary opened at Neuer Essener Kunstverein, Essen, Dozie Kanu's first solo European institutional exhibition. 

Artist, writer, musician and performer Juliana Huxtable (b. 1987, Bryan-College Station, Texas) excels in probing dormant and marginalized histories, narratives and technologies to challenge discourses around contemporary perceptions of identity, futurity and politics.

Through painting, photography, text and video, she has defined a singular aesthetics of language that often plays into a digital, Tumblr-ised visual identity, a kind of collaged rap and visual rapture. Huxtable’s practice offers a key critical voice on identity, as well as, specifically, her own identity as a black trans woman. Her work comments on different forms of reality through the lens of her personal structural experience. Inseparable from the political, the personal is our opportunity for disobedience, and Huxtable plays with this concept through her ever-evolving portrait of selfhood.

Her works and performances have been presented internationally in solo and group exhibitions, including Centre d’Art Contemporain Genève, Hayward Gallery, London, Walker Art Center, Minneapolis, Brooklyn Museum, New York, Institute for Contemporary Art, Boston, MOMA PS1, New York and Whitney Museum of American Art, New York. Her work can be found in the collections of Solomon R. Guggenheim, New York and The Studio Museum in Harlem, New York and Magasin III Museum for Contemporary Art, Stockholm.

In 2017, Huxtable published Mucus in My Pineal Gland, a celebrated volume of poems, performance scripts and essays.

Juliana Huxtable recently opened her second solo exhibition at Project Native Informant, AKIMBO SPITTLE. In 2023, Juliana Huxtable opened her first European institutional solo exhibition —USSYPHILIA at Fotografiska, Berlin. —USSYPHILIA includes and premieres a video installation, the new site-specific body of work and works from the AKIMBO-SPITTLE series.

Sophia Al-Maria is a Qatari-American artist, writer, and filmmaker living and working in London. Though her work spans many disciplines including drawing, collage, sculpture and film it is united by a preoccupation with the power of storytelling and myth, and in particular with imagining revisionist histories and alternative futures.

With her friend and collaborator Fatima Al Qadiri, Al-Maria coined the term “Gulf Futurism” to describe the growing atomisation of individuals and the shifting ground of urban planning, aesthetics, and media, and their impact on everyday life in the post-oil Persian Gulf. Her cinematic artist’s videos are fuelled by the combination of critical rigour with an affective charge in their explorations of language, imperialism, and counter-histories – a deep investigation and dramatisation of the sociopolitical, economic, and environmental present.

Al-Maria’s debut exhibition in the United States, at the Whitney Museum of Art, 2016, attends to the Gulf’s embrace of consumerism. Black Friday features primarily of shots of empty shopping centres in Doha. An unseen narrator declares the mall as the place “where the glamorous heart of evil is born”, a place of entrapment and confusion complete with faces blurred beyond recognition and bodies collapsed on the floor. 

Al-Maria was Whitechapel Gallery’s Writer in Residence 2018, resulting in her exhibition BCE comprising of films, performances and readings, including her first collaboration with the artist Sin Wai Kin. Her most recent collection of essays and writings, Sad Sack, was published by Book Works in 2019.

In 2021, Al-Maria debuted a new video work, Tender Point Ruin, at the Luma Foundation, Arles. The sequel and concluding chapter to a trilogy of videos that began with Beast Type Song, Tate Britain, 2019, Tiger Strike Red, is currently on show at Applied Arts Pavilion as part of The Milk Of Dreams | 59th International Art Exhibition of La Biennale di Venezia. In 2023, Al-Maria presented the trilogy of videos together for the first time in the a solo exhibition, Not My Bag, at the Henry Art Gallery, Seattle.