Lorna Hamilton-Brown MBE the ‘Banksy of Knitting’ talks “BLACK JOY”

Lorna Hamilton-Brown MBE

Lorna Hamilton-Brown MBE is an English artist, researcher, filmmaker and educator who has been called “the Banksy of knitting”. Her primary medium is machine knitting. Credits:

Her primary medium is machine knitting. She is an advocate for the recognition of Black people’s contributions to the crafts of knitting and crochet and is a member of the BIPOC in Fiber initiative, for which she designed the logo. She was a member of the Vogue Knitting Diversity Advisory Council.

Career
Hamilton-Brown was taught to knit at the age of five by her mother, who had emigrated to England from Jamaica. She earned a Bachelor of Arts honours degree in digital multimedia at De Montfort University in Leicester in 2002. She was made a Member of the Order of the British Empire in the 2005 New Year Honours “for services to the community in Leicestershire”.

Because of her practice of placing her work in non-gallery public places where she hopes to spark responses from viewers she has been called the Banksy of knitting by Lauren O’Farrell, founder of the English graffiti knitting Knit the City collective. An early example was “Out of the Blue”, a pair of life-size panels depicting two young people, which she created after the London Riots of 2011, and displayed at the seafront in Hastings.

In 2018 she earned a Master of Arts in Textiles from the Royal College of Art with a thesis entitled Myth: Black People Don’t Knit: The Importance of Art and Oral Histories for Documenting the Experiences of Black Knitters. In October 2017 she was Maker in Residence at University College London’s Institute of Making. Now in 2024 Lorna has an exciting new venture Black Joy! Up Close and Personal is by Playing the Race Card and curated by Lorna a thought-provoking exhibition highlights over 40 talented black artists from the South East.

Artworks exhibited include painting, sign-writing, fashion, textiles, sculpture, collage, photography, and video, inviting you to explore the beauty and complexity of Black Joy. With an accompanying programme of live events, featuring performances, workshops, talks, tours and more! Artists were invited to explore the theme of Black Joy, resulting in a vibrant collection of artworks spanning a range of mediums, from painting and fashion to textiles, sculpture, collage, photography and video.

In an era where Blackness remains under siege, the concept of Black Joy serves as both an act of radical (self-)care and a crucial element in the ongoing struggle for equality.

“Black people are not a monolith, so we all experience or express Black Joy in different ways. For me, Black Joy is the deliberate act of finding pleasure and happiness in whatever you do despite your situation.” – Lorna Hamilton-Brown RCA MBE, curator

“This exhibition is probably the largest collection of Black artists to exhibit in the UK. Having a body of work that sparks conversations about race and social justice by acclaimed artists empowers change and understanding.” – Claudine Eccleston, Playing the Race Card Founder

Access thousands of jobs here in co mpanies like #Netflix #ITV and more!

Telling us a bit about your practise as an artist?

I have an MA in Knitted Textiles from the Royal College of Art, London. Through my art, I subvert people’s associations and preconceptions of knitting to engage audiences with challenging issues to progress social justice.

In 2023, I curated the acclaimed ‘WE OUT HERE’ exhibition at Hastings Contemporary. It showcased the work of six artists of Caribbean heritage based in Hastings, East Sussex.

In 2022, I designed the ‘Unity’ patch for the England Commonwealth Games Team kit. My work has been exhibited in the UK and internationally. My ‘WE MEK issue one‘ knitted magazine cover was acquired for the Craft Council’s permanent Collection.

I research and write about the hidden history of Black knitters. I’m a Patron of the Knitting and Crochet Guild and would consider myself a bit of a knitting nerd.

Tell us a bit about the audiences for your work as Playing The Race Card?

Playing the Race Card seeks to find creative ways for people to have honest conversations about race. This is our second art exhibition. They offer an opportunity for people from all backgrounds, young and old, to start discussions.

What are the themes in “Black Joy”?

The theme of Black Joy was chosen as we wanted to get away from the media’s obsession with pedalling Black pain and trauma. The last couple of years have been challenging for the Black communities with many people feeling burnt out.

We have put BLACK JOY! in capital letters and added an exclamation mark to signify we are unapologetically Black. We have come to take up space, because so often in life we have to make ourselves small. Even when we laugh it can be perceived as being too loud.

By choosing Black Joy we are giving artists permission to bring a different narrative, celebrate being Black, take up space, chill and just be. Also, it was a chance for them to have the freedom to express what gives them joy without judgement.

How did you select the artists included in Black Joy?

For the selection of artworks, we put out an open call for artists based in the Southeast of England to respond to the theme of Black Joy. Initially, we had thought about limiting the area to Hastings and Rother, but we had requests to extend. We were keen to showcase the talent that exists outside of the metropolis as things can be so London-centric.

Artists were required to supply a supporting statement of how their work related to the theme. This could be written, video or audio.

The submitted artworks were anonymised for the selection process. The selection panel consisted of me, Euan Roberts, owner of Big Yin Gallery in Saint Leonards and Dorcas Magbadelo,illustrator. Artworks were chosen according to how well they related to the theme of Black Joy and the level of artistic skill presented.

What can we expect from the works, what are the differences and similarities in works?
When you come to the exhibition, you can expect to see a wide variety of artworks in terms of materials used and techniques. This includes textiles, signwriting, sculpture, photography, and painting. The artist’s statements shown alongside the works give you an insight into their thought process.

A lot of the works are portraits, which I found surprising. It would appear that this was an important aspect for many artists. I think this would make a good point for further discussion. There are not many abstract pieces. There are common themes of resilience, family, friendship, and the joy that colour brings. Blue was a popular colour in the show perhaps because it is perceived as calming.

How do you express Black Joy in your life?
One of the ways I express Black Joy is the way I dress. I love to wear brightly coloured clothes, with my neon yellow ‘Black Girl Magic’ earrings and signature blue lipstick.

Telling us a bit about how you use knitting in your works and why?
The element of craft – making things by hand is important to me. I have been knitting since I was a child. I started out designing and making knitwear for children. My pieces were sold in Harrods of Knightsbridge in the 90’s.

I didn’t know that Knitting could be used in Fine Art until I discovered the work of Freddie Robbins. At the age of 60, I had the privilege of studying Knit for two years at the Royal College of Art.

I love using knit in my artwork because people interact with it very differently than they do with other mediums. They find it a non-threatening medium that they tend to associate with comfort, safety, and warmth. I use these characteristics to draw the viewer in and tackle challenging subjects such as domestic violence, racism, and child sexual abuse.

Is being an activist and artist an easy marriage?
For me being an activist and an artist go hand in hand, there is no separation. It’s not an either-or situation. Both things are at the core of who I am.

How long did it take to curate the exhibition?
My role as a curator started with the selection process. It took about four months of planning to get to the installation stage. A group show is not about individual pieces. It is about how all the artworks work together collectively. Like a good Afro, the exhibition should look good from all angles, and that takes time.

What tips would you give to our Creative Careers audience on curating, perhaps starting out?

Research shows that there are not many Black curators. Usually, you would need a degree or higher qualification and that can be a barrier. In general, it is a difficult career to enter, as there is a lot of competition for the few jobs. However, don’t let that stop you. Consider volunteering at a museum or gallery to gain experience. Look for an internship, which will give you valuable hands-on experience – such as one at the National Portrait Gallery. You could put on your own show or approach an art organisation you are keen to work with.

Where do you call home?
I call Hastings my home. After 19 years here I can’t imagine living anywhere else.