Dwelling: in this space we breathe — Estate of Khadija Saye

Dwelling: in this space we breathe 2017

The series was created from a personal need for spiritual grounding after experiencing trauma. The search for what gives meaning to our lives and what we hold onto in times of despair and life changing challenges. We exist in the marriage of physical and spiritual remembrance. It’s in these spaces in which we identify with our physical and imagined bodies. Using myself as the subject, I felt it necessary to physically explore how trauma is embodied in the black experience.

Khadija Saye, Diaspora Pavilion catalogue

Sothiou

From the series: Dwelling: in this space we breathe
Wet plate collodion tintype on metal
250 x 200 mm
© Estate of Khadija Saye 2017

Limoŋ

From the series: Dwelling: in this space we breathe
Wet plate collodion tintype on metal
250 x 200 mm
© Estate of Khadija Saye 2017

Nak Bejjen

From the series: Dwelling: in this space we breathe
Wet plate collodion tintype on metal
250 x 200 mm
© Estate of Khadija Saye 2017

Peitaw

From the series: Dwelling: in this space we breathe
Wet plate collodion tintype on metal
250 x 200 mm
© Estate of Khadija Saye 2017

Tééré

From the series: Dwelling: in this space we breathe
Wet plate collodion tintype on metal
250 x 200 mm
© Estate of Khadija Saye 2017

Andichurai

From the series: Dwelling: in this space we breathe
Wet plate collodion tintype on metal
250 x 200 mm
© Estate of Khadija Saye 2017

Dwelling: in this space we breathe is a series of photographic self-portraits created by Khadija Saye in 2017 for the Diaspora Pavilion at the 57th Venice Biennale.

The artworks are tintypes, created using the traditional wet collodion process, with help from artist Almudena Romero. The collodion process, developed in the 19th century, is incredibly precarious because of the fragile glass plate, the unpredictability of the chemical reaction, and the limited period of time the artist has to develop the image once it has been exposed. For Saye, this process reinforced the ritualistic aspect of the work and the surrendering of oneself to spirituality and a higher power, she wrote:

Whilst exploring the notions of spirituality and rituals, the process of image making became a ritual in itself. The journey of making wet plate collodion tintypes is unique in the sense that no image can be replicated and the final outcome is out of the creator’s control. Within this process, you surrender yourself to the unknown, similar to what is required by all spiritual higher powers: surrendering and sacrifice. Each tintype has its own unique story to tell, a metaphor for our individual human spiritual journey. The process of submerging the collodion covered plate into a tank of silver nitrate, ignites memories of baptisms, the idea of purity and how we cleanse in order to be spiritually sound. The application of the collodion transcends the photographic process, it is a reflection, physical manifestation of my relationship to the deep-rooted tradition of African spirituality. The laborious process involved with tintypes addresses the current disposable era where materials are rapidly produced and short lived. We forget to live through the moment, remain in the silence, and work on our internal connections.

In each artwork in this series Saye depicts a venerated object from the Gambia to convey the importance of her personal connection to West African rituals – from purification to protection. Items include cowry shells, amulets, a clay pot, animal horns and chewing sticks. Research conducted by Marion Wallace and Kadija George Sesay for the British Library provides new insight into the context, history and significance of these objects.

Saye created a large body of work in this medium, so there were initially many other artworks in Dwelling: in this space we breathe. Saye was only able to exhibit six pieces in the Diaspora Pavilion, she agonised over which to choose, settling on Andichurai, Limoŋ, Nak Bejjen, Peitaw, Sothiou and Tééré. Tragically, all of the original tintypes, except for the six on display in Venice, and the rest of the artist’s oeuvre, were destroyed in the Grenfell Tower Fire in June 2017.

In 2018 one tintype from this series, Nak Bejjen, was auctioned at Christies and was subsequently donated to Tate.

Dwelling in this space we breathe has been exhibited at:

Diaspora Pavilion, 57th Venice Biennale, 3 May - 26 November 2017

Actions. The Image of the World Can Be Different, Kettle’s Yard, Cambridge, 10 February - 2 April 2018

in this space we breathe silkscreen prints 2017

In 2017, Khadija Saye created a silkscreen print of one of her tintypes, Sothiou, using a high-resolution raw scan. She worked in collaboration with the Studio of Nicola Green, Master printer Matthew Rich, and Jealous to create a limited edition of 50 prints, which she signed and dated.

Following the artist’s death, raw scans of other artworks from Dwelling: in this space we breathe were recovered. Files were found, not only of the five other artworks exhibited in Venice, but also of three additional previously unseen artworks: Kurus, Ragal and Toor-Toor.

The tintype scans were used to create silkscreen prints using the exact same methods and process as Saye had used to make Sothiou. These have been brought together in a limited edition portfolio set, collectively titled in this space we breathe. Each portfolio of silkscreen prints includes the original signed, dated and numbered silkscreen print of Sothiou created by Khadija Saye and additional prints created posthumously, including the three unseen artworks.

A limited number of silkscreen sets are available. The proceeds are divided between the Executor of Khadija Saye’s estate and the Khadija Saye Arts programme at IntoUniversity. For more information on in this space we breath portfolio sets please click here.