The Collective Makers; The Curatorial Duo Breaking Barriers in their Borough of Greenwich and Beyond.
Joseph Ijoyemi and Lison Sabrina Musset.
Hannah Olukoga interviews Joseph Ijoyemi and Lison Sabrina Musset, founders of the impactful organisation, The Collective Makers. Their common mission is to rectify the issue of insufficient opportunities and representation for minority communities within the arts, particularly in their home borough of Greenwich.
Since founding the organisation in 2020, they have partnered with; the University of the Arts London, The Dots, and Royal Museums Greenwich, with whom they have collaborated to curate the 'Our Connection to Water' exhibition, which is on view at the National Maritime Museum.
The show is deeply rooted in Greenwich's historical setting, a borough with a rich history with the sea and navigation. Home to Greenwich Mean Time and the Prime Meridian since 1884, Greenwich serves as a pivotal global point for timekeeping and navigation. The host venue, the National Maritime Museum, is a testament to Britain's cultural, economic, social, political, and maritime heritage and acknowledges Britain's ongoing influence worldwide.
This unique exhibition presents a platform for artists to delve into their relationship with water, capturing its social, cultural, environmental, emotional, and spiritual aspects. It's more than just an exhibition of artworks; it's a narrative of water's profound influence on various aspects of life. The artistic expressions within the exhibition invite viewers to meditate on the critical role water plays globally, underscoring its lasting impression on our world.
Hannah Olukoga: Thank you for taking the time to meet with me. I'm interested in understanding how both of you came together, started working together, and ultimately founded The Collective Makers:
Joseph Ijoyemi: Our story begins in the Royal Borough of Greenwich, where Sabrina and I grew up. Interestingly, we had never crossed paths before, but we finally connected through various art events and networking opportunities in early 2020. As we got to know each other, we realised that there was a glaring lack of opportunities and art programs, particularly for the Black community in our borough.
We discovered numerous talented artists silently pursued their craft, but many struggled to navigate the art world or access the needed resources. Inspired by our shared experiences, I left my job and rekindled my passion for art. That personal journey played a significant role in bringing Sabrina and me together, as we felt compelled to take action in our community.
Our vision became clear—creating avenues and opportunities for young Black artists at every stage of their artistic journey, from GCSEs to A-levels and foundation courses. We recognised the importance of nurturing and supporting these emerging talents, helping them navigate the art world and providing them with platforms to showcase their work.
In 2021, we took a significant step forward by organising our first exhibition, "Black in Full Colour." It was an event which truly represented the heart of our community and marked the first exhibition of its kind in Greenwich in many years. Through this exhibition, we aimed to celebrate and promote the diverse voices and artistic expressions within the Black community.
Sabrina Musset: I have been on my artistic journey for about three years now, even though I didn't have any formal art education. I knew I was an artist but pursued other careers and business ventures before finally embracing my passion. However, I didn't have many role models in my immediate surroundings who were actively pursuing their artistic dreams. That's when I decided to quit my job and follow my artistic calling, just two months before the pandemic struck.
Around six months later, I crossed paths with Joseph because we come from the same community and borough. During our conversations, we realised something significant - we artists, regardless of our experience or standing, face numerous barriers in accessing funding, exhibition spaces, and even dedicated buildings for our art. We wondered why the representation and accessibility were lacking, especially for emerging artists like us. That realisation became the driving force behind our motivation. We decided to take matters into our own hands and create something that truly represented our community and addressed these challenges.
And that's how we founded the Collective Makers. We felt the need to establish a platform to showcase the artistic talent within the African Diaspora and make it more accessible, particularly for those who are often overlooked or considered "nobodies" in the art industry. Our goal is to do things differently and provide currently scarce opportunities.
Seba Calfuqueo ,‘TRAY TRAY KO,’ 2022
HO: What is it like working together as co-founders?
JI: The way Sabrina and I work is about bouncing off each other's energy. When we encounter an obstacle, we may momentarily think, "We can't do this," but then we swiftly shift gears and find an alternative approach. And you know what? We make it happen. We're not jokers. We're serious about what we do, and we put in the work required to make things happen. We do it for the sake of the whole community. No doubt about it, we're not fooling around. We work hard because everything we do has a bigger purpose.
This endeavour is not about pride but recognising what we are is greater than ourselves. It's about paving the way for the next generation, showing them they can achieve these remarkable feats. Just think about it: our first major curatorial work, the ‘Our Connection to Water’ exhibition, is at an institution. Sure, some people might overlook it, but it's like a dream come true for us! The fact the show is still running is a testament to our potential and ignites a fire within us to do even more. It's the drive, the passion, that fuels us. We love it, despite the inevitable stress that comes along. We relish the opportunity to fully immerse ourselves in this work and never take "no" for an answer.
HO: ‘Our Connection to Water' is a beautiful exhibition. I wasn't particularly familiar with the space before the exhibition, and I had always held a degree of scepticism when it came to decolonising institutions by embedding ourselves within them, especially institutions that proudly seemed to uphold their historical legacy.
However, this exhibition truly captivated me. I was completely engrossed in the gallery, the seamless exhibition flow, and the distinctive individuality evident in each artist's contribution. The careful consideration given to the positioning of the artists allowed their messages to be absorbed fully, creating an intimate atmosphere. I embarked on a personal journey as I engaged with each artwork, film, and soundscape. Through a global lens, I experienced water in a way that went beyond my already strong connection to this vital force. I deeply appreciated the exhibition's ability to create an accessible and inclusive experience for artists, regardless of their career stage, and to communicate this to a wide-ranging audience. I value it greatly, and I hope to witness more of this approach from RMG and, ideally, the Collective makers.
Guide us through Collective Makers establishing a relationship with the National Maritime Museum?
LSM: We have worked closely with the National Maritime Museum for almost three years. It all began with our inaugural exhibition, 'Black in Full Colour,' held at Woolwich Works; we organised and held the artist talks at the National Maritime Museum. This partnership has been instrumental in fostering a meaningful relationship and has prompted the institution to self-reflect.
We aim to bring diverse community groups into these prestigious institutions to facilitate conversations and drive progress. We firmly believe true growth and change happen from within. While there may initially be resistance to such transformative endeavours, we maintain unwavering faith that our efforts exemplify what is possible. Our message is clear: you don't have to follow the traditional path of attending university and studying art or curation. When there is passion and determination, there will always be a way to overcome obstacles and achieve remarkable things.
Dafe Oboro ‘Pour Me Water, Pure Water’ 2020
JI: Kudos to the museum for backing us and recognising our vision and goals. They wholeheartedly supported us and provided valuable programs and initiatives that allowed us to create this amazing exhibition. This opportunity speaks volumes about their commitment to expanding their doors and working with other black-led organisations, particularly within the creative world. It's a significant change, especially in Greenwich, known for its vibrant cultural space. I have no doubt this is just the beginning, and I'm excited to see how they continue to embrace and amplify diverse narratives.
HO: What was the experience like curating ‘Our Connection to Water?’
LSM: The exhibition's strength lies in our open-mindedness, which stems from our diverse backgrounds, experiences, and global perspectives. Growing up in different countries, speaking different languages, and embracing different cultures has shaped our mindset. I am French Brazillian, and Joseph is Nigerian; he grew up in Sweden and came to England when he was eleven. These unique attributes became evident when we were approached with the brief for 'Our Connection to Water.' The assumption was we would solely showcase Black artists, but we saw an opportunity to challenge expectations and break down barriers.
Given the tight timeframe of just two weeks, we established specific criteria for the artists we would feature. They had to have already a practice centred around water—a fundamental aspect of our mission. We commissioned one artist, Aya Mohammed, as a stepping stone to showcase her illustrations and bridge the gap between established and emerging artists. During our discussions, we realised if we were to push boundaries, we should break every barrier. Gender, age, and background became irrelevant; our focus was on presenting a diverse lineup of artists that would defy expectations.
We proposed nine artists in our pitch, and the museum approved seven. This decision demonstrated their willingness to embrace our unconventional approach and showcase artists they may not have anticipated. It was a bold move, and we're grateful for their trust and support.
HO: Only two weeks?!
LSM: In 2022, we were asked by the museum to curate four pieces for World Ocean Day; the museum was impressed with the calibre of artists we showcased. As a result, one of the department heads approached us to curate this show; however, the timeframe was three and half months - two weeks to find artists and three months to handle all aspects of the exhibition, including core production, text, PR, marketing, interpretation, and more. As curators, we were responsible for delivering a comprehensive and engaging exhibition within that timeframe. We were under much pressure but motivated to bring modern contemporary art into the National Maritime Museum.
HO: At what point did you start feeling a sense of relief and see the pressure easing off during the exhibition development process?
LSM: You know what? The pressure started to lift for me when they began constructing the exhibition space. Joseph and I worked tirelessly without assistants or admin support at that stage. It was quite chaotic, with constant coordination between the design team, interpretation team, and artists. I remember feeling overwhelmed and questioning everything. But when I saw our plans coming to life halfway through the construction process, I was overcome with emotions and ended up shedding a few tears. The project manager at the museum, who knew me for being straightforward, couldn't believe it, and we ended up sharing a moment of vulnerability. It was a personal realisation that this exhibition would significantly impact and help many people.
JI: For me, the pivotal moment was when they presented the architectural design, the 3D model of the walls. I wasn't emotional like Sabrina, but I was filled with excitement. We had initially discussed our vision and how we wanted the space to look. Within a week, they returned with the model, showing us exactly what it would look like, and I was blown away. It was a moment of realisation because it demonstrated that we had a team that truly understood our vision. They took our ideas, ran with them, and produced something perfectly aligned with our concept. As artists, we often have ideas that may not come to fruition due to limited resources, but seeing this design was a "whoa" moment for me.
HO: The artworks chosen for the exhibition are individually strong and give a social view from various perspectives about water and society. Will you be exploring this topic further?
JI: I am extremely inspired by what we have accomplished, and we want to do something bigger next time. We would love to tour it across the UK with this particular exhibition. With each city, we want to have a local artist as part of the show to further dialogue and create community so it is more than just an exhibition but also an engaging public programme.
LSM: Alongside the exhibition, we've got an exciting program lined up from September to December called the identity season at the museum. It will be packed with awesome conversations, workshops, and talks, all exploring the concept of identity and how it relates to the exhibition.
HO: Aside from the partnership with Royal Museums Greenwich, is there anything else that you are particularly proud of in terms of the achievements of The Collective Makers?
JI: Absolutely! One thing we are proud of is our commitment to supporting young artists. In our first exhibition, ‘Black in Full Colour,’ we had the opportunity to showcase the work of a local artist named Sharon Adebisi. She didn't have a dedicated space to create or develop her practice, so we collaborated with Art Hub and provided her with a year-long studio residency in our borough, culminating in a solo show. Seeing her flourish and grow in her own space, away from her mom's living room, was amazing. The impact of our work inspires us and drives us to create change. We want to ensure that artists have opportunities and resources available to them. We aim to continue offering programs like the residencies every year.
This journey is just beginning, and we remain committed to fostering inclusivity and empowering young Black artists. We want to continue creating opportunities and inspiring change in our borough and beyond.
