Graeme Smith, an artist and draftsman of Jamaican-British descent, joins the creative community in Lagos through a month-long Spring residency at G.A.S. Lagos. Equipped with a background in ceramics and glass from the Royal College of Art, Graeme melds the worlds of architecture, crafts, and sculpture. His unique focus during this residency is to explore Nigerian glass beads, drawing inspiration from their history, patterns, colours, and the interplay of myth. The residency will see him delve into Bida-Masagá glass, not only to study but to design bespoke exhibition furniture, showcasing the essence of his research. As a craftsman who finds solace in the hands-on, Graeme hopes to create new work with locally sourced glass, in response to his experiences at G.A.S. and within the dynamic artistic community of Lagos.
Beyond this, Graeme aspires to offer workshops on glass lampworking, bead making, and even delving into the complexities of ceramic glaze chemistry, to help bridge knowledge gaps by exchanging knowledge with local potters. Harbouring a mindset open to the unique opportunities and collaborations that may unfold during his residency, Graeme looks forward to immersing himself in the local creative community, embracing the conditions and resources available offering honesty and collaboration as his only expectations.
Graeme Smith's residency is generously supported by the Royal College of Art Association of Black Students, Alumni & Friends (RCA BLK).
What is the current focus of your creative practice?
I'm interested in craft as a fugitive and subjugated knowledge. I'm exploring process, transposition, and spatial poetics while working primarily with ceramics and glass.
What drew you to apply for this residency and how do you think it will inform your wider practice?
My research in 18th-century bead trade and glass craft led me to focus on Sub-Saharan glass-making technology that emerged in Nigeria. I knew the G.A.S. Foundation would provide an incredible opportunity to see and feel new perspectives on the complex origins and manifold journeys of beads that were traded and moved between Africa, Europe and the Caribbean.
Can you give us an insight into how you hope to use the opportunity?
I would like to record or publish some kind of tool kit for making that I can share. It will probably have literal instructions for how to make glass beads and ceramic materials, but should also include spiritual tools in the way Audre Lorde evokes tools beyond the 'masters' tools. This tool kit would also document ancient Sub-Saharan glass and ceramic histories alongside new ones.
About Graeme Smith
Graeme Smith is an artist and draughtsman of Jamaican-British descent born in Treaty 1 Canadian Territory. He is an RCA alumnus interested in craft as a fugitive and subjugated knowledge. He explores process, transposition, and spatial poetics working primarily with ceramics and glass. He will continue a study of Nigerian glass beads during his residency at Guest Artists Space Foundation. The small, historically ubiquitous, idiosyncratic glass crafts with complex origins and manifold journeys traded and moved between Africa, Europe and the Caribbean.
