Helen Wilson: ‘Start investing in our own brand, our own projects (and) our own art’

Helen Wilson painting in her studio

The Bristol-based artist has arrived in London to display her figurative style oil paintings, which are dedicated to ordinary, unsung heroes. Helen tells us about her art and the challenges faced by “working class” artists today.

CAV: How did you get involved in art? What inspires you?
Helen Wilson: I am a self taught artist and started painting fairly late in my life, after seeing an image on TV in 1994 about the Rwandan Genocide. At the time I was a struggling single mum in Easton (the inner city of Bristol). An image of the genocide was broadcast and compelled me to learn more about the circumstances – initially, to educate my two children, but later to raise awareness of the tragedy that went untold. This also led me to recognise that my communication tool was my paintbrush. I believe that as an artist, I have a moral responsibility to address issues affecting my people.

I am inspired every day by people who have somehow managed to overcome tragedy in their lives but have managed to continually inspire and help others.

Each individual or family I have painted deserves to have their story told. They are often people whose main concern is to just LIVE with all the circumstances which prescribe their lives. Hopefully their images will convey this when they are exhibited.

CAV: What challenges and achievements have you witnessed as a black artist?
Helen Wilson: To be a Black artist in the U.K. is achievable but to be a Black Female working class artist who has retained her integrity, no longer relies on the flawed funding system/Arts Council of England and Local Government/, has to keep down a part-time job and raise two strong, black boys – you have to be focused and completely dedicated. The challenge for me and like-minded artists is to try and supplement your income by working part time and selling your work. The funding system only works for a select few and it seems to be about ‘who you know’ rather than how good your art work is.

I live in Bristol-a city still in denial about its past involvement with Slavery, so my challenges as an artist are big. There is no real support for Black artists in Bristol now that the Arts and City Councils have closed down the only African and Caribbean arts centre in the South West. This has brought home to me how much can be achieved when we have land and buildings and how unfocused and scattered we are otherwise. We need to start owning our own art galleries and art centres – this will give us more of a level playing field.

In 2002 I travelled alone to Rwanda, where I met and worked with survivors of the 1994 Genocide and visited massacre sites. It was the inspiration behind thirteen large-scale oil paintings created on my return. They tell a powerful story of personal dignity, courage and survival. Many of the stories that I heard were too traumatic to describe or even paint but through my use of colour, to represent the beauty of Rwanda and its people, I managed to communicate the stories in a way that is accessible and moving. The exhibition, called: ‘Making Sense – A Rwandan Story’, was a life changing experience and so far, one of my biggest achievements. It was my debut solo exhibition and also the first oil paintings in the UK based on the Rwandan genocide. I gifted these to the London Embassy of Rwanda, which has since arranged for them to be taken to Rwanda permanently.

Marlon Thomas by Helen Wilson

CAV: Any artists from around the world that interest you?
Helen Wilson: Two artists that I truly admire are Shirin Neshat – a contemporary Iranian visual artist who lives in New York. She is known primarily for her photography and video art. The other is Monica Sjoo, whose work is inspired by the haunting beauty of images which can take you across dimensions of time and space.

CAV: How do you think black artists are represented or supported in London?
Helen Wilson: It seems that the London art scene is dominated by Anglo Saxon artists as is the general art world. I don’t think Black artists are represented or supported enough. There needs to be an independent review held to help establish existent as well as up-and-coming-artists. It seems too many are frightened to put their talent to good use and inspire change, afraid that maybe they will no longer tick the right box when it comes to funding. I am not comfortable with the lack of representation in mainstream galleries.

CAV: Your upcoming exhibition is described as being dedicated to ordinary people that have contributed to their community. Do you think there is a strong sense of community (or communities) among black people in London?
Helen Wilson: The social fabric of our communities is broken, but not beyond repair. The time for change is now but we need to act as a collective. You have to be able to stand by your people against adversity regardless of how a situation will affect yourself personally and not be tempted by greed or ego. The desire to put profit before community needs is strangling any true meaning of the word. My community is global – I refuse to limit my self with boundaries.

Mainstream society views the black community through the eyes of the media which is a negative stereotype. Again, there is a lack of positive representation on TV, which seems to go unchallenged. The black community is feared and ghettoised and until we stand as a collective and challenge the powers that be, consistently, through art, spoken word and music – nothing will change. There is no point in complaining if you don’t back this with action. Make a firm commitment to help rebuild your community by being that change we so desperately need. Start investing in our own brand, our own projects (and) our own art. Support the people that need supporting and not the neo colonial puppets that are masquerading as our leaders.

Helen Wilson’s exhibition runs at Bernie Grant Arts Centre until 2nd November

www.berniegrantcentre.co.uk/pl174.html
www.electricpavilion.org/bristolslavetrade