Names. Face. Place.


Names. Face. Place.

Names. Face. Place. is a collection of tactile works from various artists. Using different mediums the aim of the collection is to highlight the overall understanding of different identities, physically, mentally and spiritually. Through various materials we can discover thoughts on identity in the different ways of creating portraits.

From Tarzan to Rambo:

From Tarzan to Rambo: English Born ‘Native’ Considers her Relationship to the Constructed/Self Image and her Roots in Reconstruction 1987 Sonia Boyce born 1962 Purchased 1987
Sonia Boyce OBE
From Tarzan to Rambo: English Born ‘Native’ Considers her Relationship to the Constructed/Self Image and her Roots in Reconstruction (1987)
Photographs, black and white, on paper, photocopies on paper, acrylic paint , ballpoint pen, crayon and felt-tip pen
1250 x 3600 mm

This work by Sonia Boyce highlights concerns around the effects of the African diaspora and the effects that the movement of African people across the world have transformed their identities in different ways.

Questioning the belonging and identity of African people in different countries, Boyce considers her relationship with her own identity of being ‘English born Native’ exploring the British Afro-Caribbean identity.


Ellen Gallagher 
DeLuxe (2004-5)
60 works on paper, etching, screenprint, lithograph with plasticine, velvet, toy eyeballs and coconut oil
2149 × 4527 mm

American artists Ellen Gallagher works in a range of different media to highlight issues of racial identity, stereotypes and societal imposed principals.

In her work DeLuxe, she draws from the perspective of the African American consumer, through tactile collage she created 60 advertisement style works aimed towards men and women around hair care. She also targets the femininity of women through skin treatments underwear, slimming aids and feminine hygiene items. The racially fused work illustrates her experience as a African American women and how stereotyping within the community can also be damaging to someone’s identity we can see this through the items such as skin bleaching creams.

Evidence of Grace

Genesis Tramaine


‘This exhibition explores the universal identity of the soul through the mortal lens of a spiritual being who navigates the world as a servant of God and happens to be a Black woman, a daughter, a grand-daughter, a sister, a cousin, a friend, an auntie, and a Queer wife‘ – contemporary art daily


‘Pink Lady.’ ‘Somebody is Watching Me.’

Pink lady is a drawing inspired by millers feminist outlook through visual symbolism. The use of colour has a strong impact on her work with the pink ‘feminine coloured representing a feminist view and the flowers presenting an innocence and vulnerability amongst women today. This Work may be a reflection of the current circumstances today revolving around the Sarah Everard case and women’s safety.

Jade Miller 
Pink Lady (2021)
Posca pens on paper 

The work ‘Somebody is watching me is a layered work by miller, the work was inspired by the constant fear of being watched, this reflects the themes of Jade’s Museum, the Museum of Nightmares.

Jade Miller 
‘Somebody is Watching Me’ (2021)
Acrylic Paint & fine liner on paper 



Through striking colour and mark making, ‘ Colour Portrait’ by Jade Miller, portrays the human emotion through the expression of colour.

Jade Miller
’Colour Portrait’
Acrylic on Paper
20 x 20 mm

In response

Jade miller created a piece which creates a unique human emotion through using colour,

In response to jades work, Ethan Talbot Created a similar work using creating emotional expression through colour and mark making

Ethan Talbot
Chalk Pastel on Paper

all that i have

In all that I have, Lovell continually directs the viewer to the skin, building a fleshy materiality which becomes a site of formal confrontation and social intervention, inscribing on the surface a real reflection of the sitter’s identity that is foremost about illuminating acts of repose in spaces of intimacy.

Gerald Lovell
Quil (2020)
oil on wood
48 x 36”

Gerald Lovell
Park Date (2020)
oil on panel
72 x 60”


Remaya Hamblin
Friends & Family
3x colour pencil on paper

Friends & Family

Remaya Hamblin uses colour pencil to create an photographic recreation of an individual.

through fine detail she create expression through portraiture to bring the person to life giving them an identity of their own.

Chris Ofili
Untitled (1998)
30x works on paper, watercolour and graphite
dimensions: unknown


Chris Ofili

British artists Chris Ofili is known for depicting the Black experience in his work, and uses various materials to achieve a tactile effect.

His Untitled 1998 work is a collection of 30 small scale pieces of various women. Through watercolour and graphite the profiles of different archetypes of women convey the the diversity of black identity. With each portrait celebrating subtle difference with the women such as Afro-hairstyles and colourful clothing. Ofili successfully captures the beauty of different identities.

Studio Tack-Board

Peter Blake
Studio Tack-Board 1972 Peter Blake born 1932 Presented by Robert Simon 1975

Many Faces

Ethan Talbot 
Many Faces (2020)
Pastel on paper

The Game of Probabilities

The Game of Probabilities examines self portraiture, with woven fragments from six of his own identity photographs. The photographs show the movement of time through the black and white and colour photographs from official documents such as passports and drivers licences’

Oscar Muñoz
The Game of Probabilities (2007)
Chromogenic colour prints
47.9 × 40.2 cm 

How the West was Won 1982 Donald Rodney 1961-1998 Presented by the Donald Rodney Estate 2007
Donald Rodney
’How the West was Won’ (1982)
Acrylic on canvas 
1270 × 1280 × 36 mm

‘How the West was Won’

Donald Rodney continuously explores aspects of racial identity through photography, sculpture and installation, in this work ‘How the West was Won’ Rodney highlights the relation of Britain’s colonial history.

‘How the west was won’, depicts the caricatures cowboy and Indian incorporated with text that has strong racial implications of the historical events of colonialism. The stereotypical stories of cowboys and Indians were depicted through Hollywood’s perception and glamourised within filmmaking.

La Hollandaise c.1906 Walter Richard Sickert 1860-1942 Purchased 1983

La Hollandaise

The painting does not reveal the woman’s identity

Walter Richard Sickert 
La Hollandaise (1906)
Oil Paint on Canvas
722 × 630 × 104 mm