Playing the Race Card was an exhibition which took place for just over two weeks, from October to November, in Hastings, East Sussex. The exhibition sought to amplify the voices of Black artists across the UK, who were asked to respond to the derogatory term ‘playing the race card.’ The exhibition was not just a celebration of diversity, but also a calling card for change.

 

From the 21st of October to the 6th of November 2022, Greenhalf Studio in St. Leonard’s was transformed into, as Project Director Claudine Eccleston put it, “a catalyst for debate” which asked loudly, and confidently for change.

 

What began as a community project in November 2020 leading to an online gallery, took the physical, and tangible form of an exhibition, showcasing the work of 25 artists who all identify as black, and their artistic response to the repressive phrase ‘playing the race card.’

 

The Cambridge Dictionary defines the term ‘playing the race card’ as a ‘disapproving idiom’ which means that someone “think[s] that [a] person is trying to gain special treatment because of their race.” 

 

The phrase became part of the English language during the 1980s, and since its oppressive addition, it has silenced the abuse of racially marginalised groups, undermined their experiences, and diminished their struggles. But more than that it has furthered on the longevity of a systemically racist society.

 

The exhibition hence, aimed to shuffle the deck and counter the game, by raising these marginalised voices by creating a space to celebrate and appreciate the diversity of the UK in all of its glory. In the physical exhibition, the work of national and local artists, new and existing works, was displayed with a plethora of different art forms: acrylic paintings, prints, photography, collages and even crocheted work. 

 

The exhibition sought to shine light on the work of professional artists and amateur artists, hoping as Eccleston expressed that not only would the exhibition “help turn this problematic metaphor on its head” but also that it would “encourage many more Black people to start creating.”

 

Eccleston hoped that it would "encourage many more Black people to start creating."

 

Upon entering the exhibition, I was immediately drawn to Vanessa Alves’ short video, entitled ‘The Skin I am in’ which visually presented her poem, which as she stated, depicted her “experience of being a black woman.” My focus was riveted on her eloquent poetry for the full one minute and four second duration, as she explored her identity and experiences, which she likened to her skin, as both “will change and develop.” 

 

Meanwhile, the thought provoking art continued as I observed Lorna Hamilton-Brown MBE’s crocheted piece entitled ‘I don’t see colour.’ Hamilton-Brown, who is acclaimed in the knitting world, was the producer of the exhibition and was elated to be working on the project which is the “first time ever that so many Black artists have shown work in a single exhibition in Hastings” demonstrating what a momentous step forward it was for diversity, and inclusivity.

 

The exhibition is the “first time ever that so many Black artists have shown work in a single exhibition in Hastings.”

 

Her piece featured ‘a fabric constructed of Tunisian crochet’ depicting the word ‘Black’ in’ cross-stitch embroidery.’ Upon nearing the piece, the word became clearer to see, which I think enhanced Hamilton-Brown’s point that the phrase “for black people sounds like ‘I don’t see you.'” 

 

The success of Eccleston’s earlier mentioned hope that the exhibition would be a “catalyst for change” was clearly successful, as on the drive home, I found myself debating with my parents about what each artistic piece represented, as we listened to each other’s opinions. 

 

For more information about the exhibition please visit https://www.playingtheracecard.co.uk/.