Reservoir of Gods - ACE365.3

Paul Amey, Artist, advising Abdu’Allah on the best way of putting together his art work, and the perils of vandalism in this outdoor setting. Superimposed Aqil asks why the work isn’t in a gallery in Harlesden, then points out that there is no gallery there and asks if black people would visit it if there was. Aybee and Aqil, superimposed on images of posters and markets from Harlesden, say that most black people have the impression that gallery-goers appreciate a different kind of art to the graffiti and flyers they get themselves, and mock the "cheese and wine" classes. Attille, superimposed on Harlesden street scenes, says that it can be hard, as an artist who relates to the black community, to recognise that that community is as fragmented and changeable as any other, and doesn’t necessarily like to be "spoken … on behalf of". Harlesden street scenes. Abdu’Allah’s VO suggests that black people in London have been taught a false history which they must question. His piece The Last Supper I, in which the participants are black men and women wearing Muslim robes and veils. Abdu’Allah believes that Western artists have used Christian themes "to their advantage", with a blond, blue-eyed Jesus offering an image of purity. Abdu’Allah’s photographic piece, The Crucifixion. Aqil on Abdu’Allah’s The Last Supper II, in which the participants are black men and women. Aybee says that the inclusion of the gun helps to draw a parallel with contemporary black society in which blacks may betray others of their own race. Abdu’Allah working on his woodland installation. Details of the work. His VO names it as The Reservoir of Gods, and hopes that viewers will begin to understand what young black men are trying to say. He talks about the challenge of bringing this project to fruition in an environment that he’s not been familiar with before. Harlesden. Photograph of man in robes. Thalatha Haqq. The Last Supper I. Photographs from I Wanna Kill Sam… Credits.