Fresh Milk welcomes Umi Baden-Powell & Hannah Catherine Jones to the Platform

Fresh Milk is pleased to welcome UK-based artists Hannah Catherine Jones and Umi Baden-Powell, of Barbadian and Dominican heritage respectively, to the platform from for the month of November, 2017.

TAXI FOR TWO, 2012. © [Hannah Catherine Jones + Umi BadenPowell]. Mapping fox roadkill + event documentation.

Umi and Hannah, through their collective agency ‘Ancestral Architecture’, will use their residency at Fresh Milk to explore “decolonized” bush rum (flavouring of rum with African herbs and spices) as metaphorical and literal fluid vehicle to connect with their own ancestral architecture as members of the Caribbean diaspora. They will be studying the processes and transformations (cane to sugar, sugar to alcohol, product to colonial capital, etc.) of rum, a key product in transatlantic slavery, and explore the ways their ancestors channelled trickster tactics and used consumption of decolonized bush rum to fuel another decolonisation tactic – music and performance.

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About Umi Baden-Powell:

Umi Baden-Powell is an artist, designer and aspiring architect living and working in South East London for the past 7 years. Her background in Fine Art (BA FineArt, the Slade School of Fine Art, University CollegeLondon) and her experience as a maker greatly informs her experimental but pragmatic approach to architecture and design. Umi is interested in ways to initiate egalitarian, ecological, social, grassroots and cultural interventions, as well as forming proposals for alternative models of living in the city – activism through architecture.

About Hannah Catherine Jones:

Hannah Catherine Jones (aka Foxy Moron) is an artist, scholar, multi-instrumentalist, radio presenter (NTS), composer, conductor and founder of Peckham Chamber Orchestra – a community project established in 2013. Her broad practice is connected through a central spine of inclusivity and decolonization. Myths (both ancient and modern), word-play, appropriation and her own voice (in song) are her materials. The videos she composes use   fragmented appropriated footage, as do her orchestral compositions. Her Oweds are a temporal form of self-reparation, a method of connection with ancestors though sonic ritual using voice, theremin and video her Afrofuturistic operatic performances bridge visual arts (video) and music (sonic improvisation).

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