Hannah Marsh

My practise explores my grandmother, Eya Couloute’s Migration to Rugby from Saint Lucia in the 1950s, attempting to allude to the the social engineering of spaces, looking at the safety of the interior of her home, in contrast to the hostile bleak train station she spent her life cleaning. The idea that Eya spent a large portion of her adult life existing in a space that rejected her on account of her race reminds me that every time I enter the school of fine art the cleaner is also a black female who migrated to this country from Ghana, like Eya, existing in a space she does not socially have access to despite being 59 years later. My work attempts not to compare the two circumstances, but to squeeze myself into the physical roles she undertook within in my own context, attempting to navigate artwork through a cleaner’s physical process that matches a narrative of Eya’s experiences on the railway.