Roshini Kempadoo (born Crawley, Sussex, England, 1959) is a British photographer, media artist, and academic. For more than 20 years she has been a lecturer and researcher in photography, digital media production, and cultural studies in a variety of educational institutions, and is currently a lecturer at the University of East London.
Her photography has been concerned with women’s issues and issues of representation, particularly of black people. In her research, multimedia, and photographic projects, which explore the visual representation of the Caribbean, she combines “factual and fictional re-imaginings of contemporary experiences with history and memory … her recent work as a digital image artist includes photographs and screen-based interactive art installations that fictionalize Caribbean archive material, objects, and spaces.”
Table of Contents
- 1 Personal life
- 2 Career
- 2.1 Creole in the Archive: Imagery, Presence and the Location … (Critical Perspectives on Theory, Culture and Politics)
- 2.2 Roshini Kempadoo: Monograph
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Personal life
She is the daughter of performer Rosemary Kempadoo. who had been taught by Stanley Greaves and was share of a network of artists in Georgetown in the 1970s that included Aubrey Williams. Her dad is the writer Peter Kempadoo, and novelist Oonya Kempadoo is her youngest sister.
Career
She joined Format, the women’s photographic agency conceived by Maggie Murray and Val Wilmer, and was also keen in establishing the first Black British photographic association, Autograph ABP, together bearing in mind Monika Baker, Sunil Gupta, Rotimi Fani-Kayode and Armet Francis. She pursued a photographic career from the 1980s and ’90s onwards: “it was a time of time in which we were re-defining representations of the black subject. It was an venturesome period of period where photography and film moved away from received visual arts studies and became more radically joined to cultural studies and criticism. Photography of this nice became situated outside fine art studies, and this broader interdisciplinary arena allowed me to judge photography nearly notions of psychoanalysis, post-colonialism and feminist studies, drawing upon the seminal texts of Stuart Hall, Susan Sontag, Laura Mulvey and John Berger to think nearly photography.”
She as well as counts accompanied by her influences colleagues such as John Akomfrah, Sunil Gupta, Ingrid Pollard and Keith Piper, in adjunct to those full of life with publishing the international independent photographic magazine Ten.8, among them Derek Bishton, Rhonda Wilson (with whom she co-edited the Spectrum Women’s Photography Festival exhibition catalogue, published as a special supplement to matter 30 of the magazine) and John Taylor.
She has exhibited regularly internationally, including in Trinidad, Toronto (curated by Sheila Petty, University of Regina), New York and the Netherlands. A major retrospective of her photographic and digital art, Roshini Kempadoo: Works 1990 – 2004, opened at the PM Gallery and House in 2004 and in the same way as toured.
Her behave has been acquired by the National Portrait Gallery, London, and Autograph ABP, London, and is in the collections of supplementary institutions and individuals, including Yale Center for British Art, Connecticut, US, and the Birmingham Museum and Libraries Collection UK.
She is the author of the book Creole in the Archive: Imagery, Presence and the Location of the Caribbean Figure (2016).
Last update 2021-08-06