Poetic justice Artist’s work confronts ‘ugly truths’ hidden in everyday life
TO create political art during a time of oppression and trauma is an act of resistance, says artist Jazz Thompson.
She made a powerful case for the Black artists movement when her artwork named Poetic Justice, following the toppling of the statue of Edward Colston, raised conversations online and offline.
“That was the first time Colston wasn’t watching over everyone and it’s the way it should be,” Jazz, 26, said.
“I wasn’t in Bristol when his statue was toppled. “My brother sent me a picture of it and it was so emotional because of how historic and political it is, and how much distress it’s caused.
“To see people take control and remove Colston was so powerful.
“I called the piece Poetic Justice because it was so beautiful to watch and that’s what he deserved.
“It really struck a chord in me personally. It told a story of that moment.”
Jazz has also created illustrations for Adidas of England cricketer Jofra Archer and England rugby star Maro Itoje for the sportswear brand’s Ready for Sport campaign.
Her artwork has the ability to marry the personal and political, to place together feelings which are bubbling away under the surface into healing patterns.
For her, the pieces she creates make visible the pain that buries itself within, such as the pain of seeing yet another unarmed Black person killed.
She said: “I love putting political pieces in exhibition spaces and a lot of galleries because generally those I’ve been to have been very white spaces.
“It’s perfect for me because I know it’s going to cause a stir and be a catalyst for conversation.”
Black Lives Matter was one of the biggest stories of 2020 and Jazz’s illustration of a Black woman kneeling in front of police officers, forced people to face the ugly truths of the justice system which may otherwise have been buried in the everyday rhythm of life.
Black art has pulled communities together in a time when they have felt as though protesting just isn’t enough.
She said: “The picture itself was so powerful and it exuded resilience.
“To be stood in the face of violence and just completely fearless and in the midst of all of that chaos and rioting.
“It’s something which we’ve seen through years and years of Black women kneeling down and at the forefront of movements and leading it.
“I felt compelled to illustrate this and when you create anything which raises issues or awareness there’s an element of danger.
“This kind of work will always be met with resistance and people want to fight it. But I’m here for conversation if people want to understand or learn. All we’re trying to do is claim back our own narratives and tell our own stories.”
The first time she created work centred around politics was when she moved from Worcester to Bristol for university. The piece looked into why she believed Bristol was so segregated.
“When I would go to Clifton it would feel like a completely different city to St Werburghs and Redland. The race and class divide in the city was huge.
“It was unsettling especially because Bristol is championed as such a diverse city and it is not.
“You realise that it’s really not, so for me it was important to spotlight this.”
To mark Black History Month, the Bristol Post is shining the spotlight on Black-led businesses across the city. We aim to cover everything from the importance of representation, the impact on their communities and the effects of the pandemic on their businesses. If you know of a Black owned business that should be featured, let us know.