Selected Artists



Shaneika Asare Simms
< Do Not Upload >



Do Not Upload is a moving-image work that draws on diaristic video and autotheoretical written reflection to examine the pressures placed on marginalised people to perform visibility. The film engages with early video art, contemporary digital culture, and the algorithmic gaze, using editing as a critical and embodied process rather than a purely technical one.

Through rhythm, glitches, pauses, repetition, and refusal, the edit becomes a site of lived theory around Blackness, motherhood, class, and creative labour. Moments of disruption and incompletion are not treated as flaws but as evidence of time scarcity, interruption, and reality. The work resists smoothness and clarity, instead leaning into non-linearity and tenderness as valid modes of expression. 

By turning the lens on myself and my family, I foreground a representation of everyday life that feels absent from platformised visual culture. This absence is shaped by the highlight reel effect of social media and the ongoing commodification of aspirational lifestyles, productivity, and ease. Do Not Upload responds to this by embracing opacity, partiality, and self-withholding, questioning what it means to be seen and at what cost. 

The film sits within a period of profound personal transition. I made this work while pregnant with my second child, caring for a toddler, and navigating the postpartum period alongside postgraduate study. These conditions shape both the content and form of the work. Rather than separating creative practice from lived experience, I centre my positionality and claim everyday life as a site of knowledge and power. My home is my art studio, so therefore anything that happens within is art.  




Mabel Wynne
<One day I could be living again>


'One day I could be living again' is a fine print publication digitally printed on Coral 300gsm and handbound by me. It’s a series of poetry chronologically documenting the different relationships I have had with men through poetry, illustration, photography and design, and how they have all - directly or indirectly - impacted and influenced one another. It documents the worst experiences of my life as well as some of my best, and, for the better or for the worse, it has shaped who I am today, where I am in life, how my life works and why. Many of the experiences I explore have been a detriment to my life and, in some cases, have caused ongoing medical issues that hold me back to this day and make many aspects of life a lot harder. But I believe that my own individual lived experience is only a microcosm of the inequalities women still face in society, and in expressing my own, I hope to convey that the challenges women go through are far more nuanced or complex than one-off experiences.

By creating a chronological poetic documentation of a very specific time in my life – littered with reflections on past childhood abuse and hinting at links between the past and the present – I hope to show how the complexities of challenges women go through cause so many other unexpected life changes and how these weave through many different areas of life that from the outside might go unnoticed. When I finished making my publication, I travelled to different retailers I had always admired and got inspiration from, and it led to it now being stocked in Magalleria, MagCulture, and the London Review Bookshop (with LRB now in its second restock)!

I have since had people reach out to me online to let me know how impactful the design has been for them in reassessing how a book can be made, and I have found that the words in my poems strike very close to home in one way or another for a range of different women and men, which I found pleasantly surprising. I want more people to feel recognised and seen by reading my publication, as I know it is something I would have needed a few years ago too.





Lita (Lituole) Wei

< The Caged Bird >The Caged Birds website created by Lita Wei re-imagines the V&A as a metaphorical jungle, and compares the objects unethically obtained through colonialism (looted/stolen/unfairly traded), which are likened to “caged” birds, to those that came after through peaceful exchanges, the “free” birds, in the hope of raising awareness of the dark colonial legacy associated with Western museums.

As you enter this website, imagine the museum as an ontological ecosystem, where there are various objects within its collection as creatures living within it; as the objects take on lives of their own, it also raises the question of whether this "ecosystem" is healthy, with all its residents being respected – both in the way they came about, and the way they are treated now.




Eve Wysocki
< One Garment, Many Bodies >

This photo series visualises Othering through the idea of “the default body” and the systems built around it. In fashion, inclusion is often framed as an exception: bodies are asked to adapt to standards rather than standards adapting to bodies. I propose a set of portraits of different people- different shapes, sizes, ages, genders, and backgrounds- wearing the same garment. The piece explores what happens when one design is asked to hold many identities without forcing assimilation.
Each image will use consistent framing and lighting to avoid hierarchy between bodies. The garment becomes a shared language, while the wearer’s posture, comfort, and self-presentation reveal how belonging is negotiated. I’m interested in the tension between sameness and difference: when “one-size” is used as a tool of erasure, and when it becomes a tool of access. 

The work invites viewers to question who is centred by design decisions (sizing, fit, “professional” aesthetics, retail norms) and who is pushed to the margins. By showing many bodies occupying the same visual space with equal dignity, the series reframes difference as normal, not as deviation. 
This submission contributes to the Visual Justice Glossary by offering a visual definition of Othering as something designed, and therefore something that can be redesigned.





Suhaana Verma

< Ty sigmas / Popty /
Capel Dewi Sant >
These three photographs were taken as a series in response to ‘Locality’. What is locality? What makes something local? What makes someone local? These were the questions I was asking as locality was brought into conversation.

As someone from a crossover of cultures, the response to this isn’t so straightforward. Especially growing up in a rural area where those with generations of their family born and bred here, cultural pride is high; as welcoming as they are, they are also very reserved and do not claim others as their own, even if they were raised there, speak their language and know the culture. But still varies from person to person. 
This ‘protectiveness’ of Welsh culture is also seen as people identify as either North or South Welsh and the associations with each, and which is the ‘purer’ Welsh. People even associate with villages and feel they belong to one rather than the other, even if they moved a difference of less than a few miles away. 

As a minority in this predominantly white area, I can also be spotted as ‘different’. I wanted to play with this imagery as I dressed traditionally to my Indian heritage and went around the area, taking questions to provoke thought processes on what it means to be local, being seen at locations such as the bridge, the go-to bakery and near the church.




Roman Lehman Schlaht
< Funny Loophole /
Nah, I think I'm gonna stay a little longer >

Every day that passes, cities become more and more sterile and visually empty. The presence of the very people living there fades away. Although I don’t enjoy most of the aspects of graffiti, I despise the way governments overcontrol the visuals of a city even more. Stuck between these two
ideologies, I escaped with an idea; Instead of using spray paint, I express myself through scrub tools, soap and some water. With time and sheer determination, I am able to create a striking contrast between the filthy and clean surface of a wall. Thus giving life to my drawings. I believe that
everyone should be able to express themselves freely. Unfortunately, in today's society, there are many systems that restrict our ability to do so. However, with creativity and thinking outside the box, it is possible to overcome these obstacles.



Edward Hongyi JIA

The practice is a continuous dialogue between liberation, memory, identity, and the impermanence of the present moment. Working across mediums—ranging from painting and text-based works to moving image—I explore the subtle tensions that exist between personal narrative and collective experience. I am deeply interested in how space, both physical and psychological, becomes a vessel for emotion, displacement, and transformation.
As someone who has lived across cultures and navigated multiple languages, I often find myself returning to themes of translation—not only linguistic but emotional and visual. Much of my work seeks to slow down perception, inviting viewers into a space where time is suspended and details carry the weight of silence. My process is intuitive, often beginning with an image, a sentence, or a fragment of sound, which then unfolds into larger inquiries about memory, loss, and the poetic fragments of daily life. 
Through my work, I do not aim to provide answers, but rather to offer portals—small openings into unseen or overlooked spaces of existence. I hope that viewers find moments of resonance, dissonance, or recognition within them, and in doing so, create their own meanings through the act of looking, listening, and feeling.