Donald Rodney- Nottingham Contemporary

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Donald Rodney Exhibition at Nottingham Contemporary

We visited Nottingham Contemporary today for an exhibition of the late Donald Rodney: Visceral Canker. Rodney’s work was spread over all rooms on the ground floor showcasing nearly all surviving artwork including sketchbooks, photographs and documents that addressed topics of racial identity, prejudice, masculinity, chronic illness and Britain's colonial past.

I first entered the room showcasing his work ‘Flesh of My Flesh’ 1996. I didn’t quite know what I was looking at, at first. After reading about the photograph, I realised it was a large scar from his most recent hip operation. I found the message behind this piece to be really powerful. Reading that the scar was evidence of malpractice: over-stitching by a reckless surgeon who apparently felt that Black skin required more work since it was “tougher” than white skin. On either side of the scar are electronic microscopic photos of a knot of human hairs, one belonging to Rodney and the other belonging to fellow, white female artist Rose Finn-Kelcey. But these two hairs look identical.

Flesh of my Flesh 1996

A large chunk of Rodney’s work is based upon his suffering from sickle cell anaemia throughout his life, which meant persistent pain, regular invasive treatments and increasing immobility.

Poster for The Pan-Afrikan Connection Exhibition 1983

         Poster of the Radical Black Art convention 1984


              'Visceral Canker', 1990, Wood panels, perspex sheets, silicone tubing, blood bags and electric pump

The "Visceral Canker" piece really captures the ideas of Donald Rodney's work. I found this subject quite disturbing because of my own heritage. His use of imitation blood to connect the coat of arms of John Hawkins and Queen Elizabeth I highlights the connections between historical figures and the legacy of their actions, emphasising the ongoing impact of Britain's colonial past.

The decision to use imitation blood instead of his own, following the intervention by Plymouth City Council, adds another layer to what I feel is a shameful history and this piece reflects the tension between personal expression and the general public’s view on slavery.

I had to look up the meaning of the word visceral as this is not a word within my vocabulary, however, I do understand the meaning of the word especially concerning his pieces of work. Rodney's original intention to use his own blood speaks about his commitment to demonstrate the connection to the enslaved people and his own personal thoughts regarding these historic injustices.

 It's a powerful reminder of how art can be a medium for confronting and critiquing historical atrocities and their long lasting effects on society. The use of medical tubes and electrical pumps to circulate the blood further highlights the notion of these systemic issues being ingrained in the fabric of society, like a disease that continues to infect and affect.

This exhibition not only highlights Rodney's artistic vision but also serves as a crucial reflection on how the past continues to shape the present. It's a significant and moving work that challenges viewers to come to terms with these uncomfortable truths.

Britannia Hospital 3, 1988

The House that Jack Built, 1987


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