This artwork was made in relation to birth, I worked quickly, as the model was in their last trimester. The plaster started to crack at the top of the breast; so I chose to paint it with latex, which created a skin look. The indexical traces of the breast and belly button gave this a realness or authenticity. The definition of the indexical relates to a sense of being for the visual arts, to be able to create an archetype made the art exciting, capturing this moment in time as the baby will be born and the belly no more.  Krauss, a psychologist, quotes that we identify the correspondence between the “physical transposition of an object from the continuum of reality into the fixed condition of the art image” (997-998). The art process of this work using materials such as clay or plaster gives a more live artwork.



“Make art from your heart, from your cultural lens. It is freeing to express your inner self”. Loleithaart, 2013-2016

My chosen themes that I explore are subjects that interest me, such as identity race, and gender representation throughout art. My purpose for reviewing these elements of life is to use them to produce a series of meaningful images and artworks. I investigate the perceptions of people of colour and particularly Black Britain.


I am currently working on this new piece so far it’s taken 3/4 days to get this far, I am happy with how it is progressing, it is definitely a creative flow that I’m experiencing, I am just going with the Freedom! Even though I am working from a sketch and images, I have taken.  I am figuring ‘how to’ as I go, living and learning.

The artists I am researching alongside sculpting are Rodin, Edmonia Lewis and Augusta Christina Savage, who I wrote on in my dissertation.

François-Auguste-René Rodin was born in Paris 1840, and highly known for his sculpting and painting. His approach to sculpture was like a craftsman, but he worked hard to be recognised. His work had an individualistic character and did not follow the norm. He was who he was. He stood his ground and didn’t conform to what was traditional in the way of sculpting. The artwork that inspired me was ‘the thinker’, 1901, because it represents people then and now.

Edmonia Lewis 1844-1907; an African-American and Native-American sculptor. Lewis worked mainly in Rome s another artist who is known for putting an emphasis on relating her Neo-classical sculpture style to African-American  and American-Indian physiognomy.



While reading the ‘The Art of Illusion’ page, 291, I came across this quote…

‘ I believe it is only by considering these psychological aspects of image making and image reading that we may come closer to an understanding of the central problem of the history of art, that is why representation should have a history, (Gombrich,1990).

As artists I think that the above quote is expressing, ‘we bear witness through the self-expression of making art’. #loleithaart.

During my second year, I was involved in a project with the ISCRE Leadership Academy. This programme was designed to encourage and support young Black boys while in Ks3 of their school journey.

My part was that,  I held an art class of 13 boys, I chose a role model from society and one which was in the media that the boys would all know and hear very good reports of… Nelson Mandela, a strong man that had overcome obstacles with grace and peace. I set tasks for them 3 tables of 4/5 .

1st table was drawing Mandela the iconic figure and learning 5 facts about him. The 2nd table focused on self-portraits and then they drew each other which brought about some funny characters and some not so easy portraits. I was able to notice that not everyone was able to depict or approach the task on themselves positively. But we had breakthrough nevertheless. And the 3rd table worked on creating their very own cast to take home.  Picture above.

This work was titled ‘we can achieve much.’ 

I used that line to get the boys attention during the class; it’s what I had learned during my micro teaching sessions while on my PTTLS course, I was completing it at the same time as working part-time at the local charity ISCRE and at Uni.

My paintings are depicting the young boy and man being ‘focused’  and achieving much with their natural skill set. Seeing and focusing on who they are perceived in the mirror and not what society and the media illustrates. #identity, #perceptions. #loleithaart.

While researching, I found this amazing artist Kehinde Wiley; his work speaks for itself truly. He depicted a series about young Black men. Wiley is an African-American artist, born 1977.  His contemporary large-scale paintings illustrate, erotic poses, using figurative poses and reference from the Old Masters.

Wiley cleverly uses the traditional style of painting and blends his kudos of urban hip hop styles, and also displays his West African heritage to illustrate power and heroic mannerisms in his cultural lens. His models are people /men/youth from the street; specifically, Harlems 12th Street and from where he was born the South Central neighbourhood, New York.

Kehinde Wiley art, taken from a series of his works.



‘I’m the head, not the tail’ 2016

The last time I created a clay sculpture I was in high school, and Lionel Richie was singing  ‘Hello’, and my hair was exactly like the girl in the video. Hahaha. #memories. Today I end sculpting this head and am ready for my next stage of this process, decisions, decisions, I am currently looking into the casting in plaster or another medium or the glazing process, and then what type.  Dip or brush on…  So do I cast or glaze?

I didn’t create to cast, but what works the best is what I will go with – to get the desired result I’m hoping to achieve. As I sculpt, I do kinda have a vision, but at the same time am free to let my workflow – in whatever direction. I approach and make my art, from my cultural lens, and then I research art and the artists. This process for me confirms, my thoughts processes and gives me encouragement too. In relation to my current artwork, I have found two Buddha heads that had the same or similar hair type as my artwork is illustrating the Black physiognomy and identity. Unfortunately, I am unable, well for the time being, to find who created them or the year. However, I’m still searching.

Unknown titles of Buddha’s,

Aleix Barbat and The Bronze Woman. Photograph: Frank Baron

As I continue with my research, I am reminded of a woman sculpture that is in London I recall standing and being well chuffed at its presence.

Mrs. Cécile Nobrega’s 30-year dream came true; her heart’s desire was to have a sculpture that represented African Caribbean Woman. The first public sculpture of a black woman to be on permanent display in England. Nobrega wrote a poem, titled, ‘The Bronze Woman’ it is a tribute to womanhood and the spirit and courage of black women in the face of slavery and oppression. The 3-metre (10ft) sculpture of a black mother and baby was cast in Bronze, and it is situated in Stockwell Memorial Gardens, South London. May 2008, marked the 200th anniversary of the abolition of the slave trade in the British Empire. (Gould, 2008). Aleix Barbat, finished off the sculpture, as Artist, Ian Walters, began this initially, but he died in 2006,  he was also the sculpture who sculpted Nelson Mandela, which is situated in Parlament Square, London.

Cécile Nobrega, 1919 – 2013 Thank you for the legacy.