SANDRA POULSON

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	<title>SANDRA POULSON</title>
	<link>https://sandrapoulson.com</link>
	<description>SANDRA POULSON</description>
	<pubDate>Mon, 24 Jul 2023 13:15:49 +0000</pubDate>
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		<title>‘If the Equator Shifts 90º, Does It Go from a Border to a Highway, or maybe to a Footpath?’ </title>
				
		<link>https://sandrapoulson.com/If-the-Equator-Shifts-90-Does-It-Go-from-a-Border-to-a-Highway-or</link>

		<pubDate>Mon, 05 Dec 2022 16:56:17 +0000</pubDate>

		<dc:creator>SANDRA POULSON</dc:creator>

		<guid isPermaLink="true">https://sandrapoulson.com/If-the-Equator-Shifts-90-Does-It-Go-from-a-Border-to-a-Highway-or</guid>

		<description>‘If the Equator Shifts 90º, Does It Go from a
Border to a Highway, or maybe to a Footpath?’&#38;nbsp;


Artist essay and installation commissioned by Acne Studios, currently showing at the Normmalmstorg Flagship Store in Stockholm until the 12th December 2022. (2022)


&#38;nbsp;


Throughout my practice, discussions
regarding perception of green spaces in the public realm, as well as plants in
the domestic sphere, have been recurring. My
work investigates the
already existing connections and understandings of the flora as a core
counterpart for humans, human activity, and societal constructions of meaning. I often return to lived experience and observations in
Luanda, Angola, as central case studies for such analysis.


Plant Girls 


 I remember being still in primary school when
on a Saturday, like many, I left the house with my sister to go to Bible
studies. That day when we left the block, the boys from the
building next to ours, said something along the lines of ‘there they go, the
girls from the plants’ in a loud manner.


I asked my sister what they meant, and she replied,
‘don’t listen to boys and keep walking’.


I didn’t understand what they meant, but I
wanted to. How are we the ‘girls from the plants’? Why does that identify us?
Everyone has plants. When we got home, I told my mum what happened and
explained that it didn’t make any sense, because everyone had plants, but the
boys seemed to be sure about the name they gave me and my sister.


 My mom asked me if I really did think that
everyone had plants. She told me to keep an eye on that. I am glad she didn’t
just give me an answer but left me with a question.


 We lived on the second floor of a building,
gated at every opportunity and I wasn’t allowed to go past our floor.


 From then on, when coming up the stairs with my
parents, if they were carrying shopping bags or climbing slowly, I would sprint
to the third floor, on another day to the fourth or fifth floor. In a matter of
few weeks, I had seen all of them. I was curious to see what had been above my
head for my whole life, at the time about 7 or 8 years, and I couldn’t access.
I wanted to see their gates, their plants.


 My mom had more than plants, in my imagination
she had a little forest. Her plants covered the corridor that gave access to
the flat, and they were all one could see when looking in through the
gate.&#38;nbsp; 


 On the other floors, I saw things; mostly objects
that people maybe did not want any more so &#38;nbsp;would keep them outside the flat. 


 I couldn’t believe what I saw – the other
neighbours didn’t have any plants.[1]May be the neighbour from the 5th floor had a couple vases. But the
forest, that I thought I would see on every floor, wasn’t there. 


 Our corridor not only had plants, but it was
also the only one that did. As such, it was essentially defined by the green of
independent fennels and other species that grew even in the cracks of the wall.


 In a building where most families fetched water daily (or when it was
available through the public supplying network), using water for plants meant the same as
‘disposing’ of it. 


‘I thought that water conditioned plants’ growth.


What I didn’t consider was which
water.’


Matters such as access to water and time started
to be
addressed in
‘Economy of the Dust’[2] through the process of
re-imagining the corridor of plants that the girls (me and my sister) were
nicknamed after. The installation ‘Planta’ is interested in the reasons behind
the non-existent plants in all the remaining floors of that building. Reflecting
upon knowledge accumulated in early years of life, by a child that realises that water and time are finite resources in Luanda and that building presented the immediate example for the asymmetries in
access to it.&#38;nbsp; 


3000 Palm Trees from Miami


Such asymmetries reflect
the societal structures of Luanda, as they do when crossing country, continent
and ‘hemisphere borders’. About 15 years ago, with the redevelopment of Luanda
Bay, ‘the
Marginal,[3]received a makeover that reportedly involved the importation of 3000 palm trees
from Miami.’[4]Such trees, due to various reasons, including a different climate and inability
to be maintained according to the species needs, gradually died as they never
adapted. ‘The importation is highlighted with a sense of pride in the corporate
magazine of Angola’s parastatal oil company’[5],
in an article titled ‘Miami on the Marginal’.[6]


This transplantation
can be read as a not-context-appropriate movement, and the idea of it ‘adding
value to the bay’ lays as central to this analysis and is very much debatable; given
that the investment made for this transplantation does not reflect the resources
made available for other immediate infrastructure in the city. &#38;nbsp;An opportunity to transfer a piece of
information, in this case material information (the 3000 palm trees), can be
also a chance to analyse the perception of this near-north–near-south exchanges, with focus
on the direction where they tend to take place.[7] Here
considering the direction of movement as key for assessing perceived value.


Movement x Perception 


As many things in
movement, ‘Miami Palm trees in Luanda’ were more than trees – they were of near-north origin, which seemingly
allowed them to add value to Luanda Bay, while building a borrowed imaginary of
existing in a near north geography. 


In this instance the
trees are transported and transplanted as goods that allow characteristics of
one place to be replicated and, perhaps, felt in another. Here the work really
wonders if they move as goods or, instead, as currencies – ones that are external
and therefore seen as more valuable. It also reflects upon the construction of
the aspiration to access currencies from near-north geographies, while
simultaneously knowing that such currencies are heavily affected by extraction
in near-southgeographies.


Equator Line 90° Shift


In a way, formally these ideas regarding movement of currencies, between
north and south, rely on the abstract
harshness of the equator line, almost to be justified. They don’t necessarily form them, but function as a ‘permanent
psychological’
reminder of a division between the so-called ‘Global South’
and ‘Global North’. Terms which in fact refer more to power dynamics than
geographic positioning.


AbdouMaliq
Simone analyses the possibilities around this shift, thinking about the nuances
of proximity and ‘The South’ as
‘latitude oriented’. The latter being perhaps more defining than equatorial separation.[8] Challenging the impact of the terminology (‘Global’) and
thinking about the ‘Near’. In ways also replacing the
‘Global-Something’ due to its generalist and inaccurate nature, as it almost
doesn’t define anything, but it groups towards agendas. For instance, when
thinking about Europe, the proximity to north or south
within the continent affects the disparity of perception
between the nations in the Mediterranean Sea in
relation to Scandinavia.
It becomes clear that equator proximity still applies
past the line.


What ‘If the Equator Shifts 90º, Does It Go from A Border to a Highway, or maybe to a Footpath?’, or has it possibly been a highway disguised as
a border? 


The work is interested in challenging the
meaning of movements of value and currencies, while reflecting upon the
framework of coloniality that enables value calculations to be often based on
geographies, and proximity to the north. What if the memory of the no longer
living palms from Miami travels north, with a register of not having adapted,
but rather having learnt something? What if the psychological conditioning that
allows near-north currencies to be
perceived as being more valuable than near-southones, is revisited based on observation of extraction of resources and their
north-oriented trips.


In ways, the artifices of economic, political, socio-cultural
perception result from centuries of continued colonial entrapment. Almost
operating as Stockholm syndrome, when speaking directly of colonialism, and the
immediate need to exercise decoloniality as a means to reformulate the
relationships along the footpath that the now vertical, equator line can be.


This work operates as an exercise of walking
though that path, perhaps one drawn between Luanda and Stockholm, and will
temporarily inhabit the very building where that condition gained a name in
1973[9].
The very condition it challenges on a macro scale, but with thoughts on every
one of those 3000 palms in Luanda.


Sandra
Poulson, 2022


[1]This is the case in many buildings in Luanda, however it is also very common to
see residential budlings where many of the floors have plants. In January 2022,
I have visited a building in downtown Luanda where most floors did.


[2]‘Economy of the Dust’, Sandra Poulson, multi-installation solo show, exhibited in London at V.O. Curations (2022) 


[3]Luanda bay


[4]LUANDA ONDE ESTA!? CONTEMPORARY
AFRICAN ART AND THE RENTIER STATE Kate E. Cowcher, Stanford University


[5]&#38;nbsp;“Miami on the
Marginal,” Universo, Sonangol, Winter 2008, p. 13.


[6]&#38;nbsp;Ibid.


[7]&#38;nbsp;Highlighting the
conversation about the perception of where value and ‘culture’ come from.


[8]&#38;nbsp;AbdouMaliq Simone,
Improvised Lives, 2019 p.12 -14.


[9]&#38;nbsp;On the 23rd of October
1973 the Kreditbanken bank in Stockholm was target of a robbery. Famously known
as the Norrmalmstorg robbery. Due to the developed relationship&#38;nbsp; between the robbers and hostages, as the
latter chose to protect, not testify against and even raise money for the
robbers defence, the phenomena became known as Stockholm Syndrome. The very
building that was then the bank is now home for the flagship store of Acne
Studios in Stockholm, and for a month home to ‘If the Equator Shifts 90º, Does
It Go from a Border to a Highway, or maybe to a Footpath?’ installation.


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		<title>Boda Boda Lounge - Christian Nyampeta    'Sometimes it was Beautiful'</title>
				
		<link>https://sandrapoulson.com/Boda-Boda-Lounge-Christian-Nyampeta-Sometimes-it-was-Beautiful</link>

		<pubDate>Mon, 24 Jul 2023 13:15:49 +0000</pubDate>

		<dc:creator>SANDRA POULSON</dc:creator>

		<guid isPermaLink="true">https://sandrapoulson.com/Boda-Boda-Lounge-Christian-Nyampeta-Sometimes-it-was-Beautiful</guid>

		<description>Boda Boda Lounge -&#38;nbsp; Guggenheim Museum NY&#38;nbsp;

Screening of ‘The Ladder’ (2020) as part of Christian Nyampeta’s 'Sometimes it was Beautiful' 2021

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		<title>ECONOMY OF THE DUST</title>
				
		<link>https://sandrapoulson.com/ECONOMY-OF-THE-DUST</link>

		<pubDate>Tue, 07 Jun 2022 11:23:11 +0000</pubDate>

		<dc:creator>SANDRA POULSON</dc:creator>

		<guid isPermaLink="true">https://sandrapoulson.com/ECONOMY-OF-THE-DUST</guid>

		<description>ECONOMY 
OF THE 
DUST
&#38;nbsp;


Solo show at V.O. Curations open until 30th June (56 Conduit Street W1S 2YZ London ) 2022‘Developed during her residency at
V.O Curations, Sandra Poulson presents a series of new works, which draw from
the artist’s personal experience of growing up in Luanda, Angola. For this
exhibition, presented across two gallery spaces, the artist took the
ever-present dust in the city, central to its geographic location, to reflect
on Luanda’s economic, social and cultural landscape. The works are made in
fabric, a material seminal in constructing the way our bodies navigate the
world, with each element pattern cut and handsewn. In Luanda, the dust is a
stable and reliable resource, while at the same time many jobs and daily
activities are focused on the effort to erase any traces of it. Referencing
AbdouMaliq Simone in thinking of the dust as an accidental gift for the city,
Poulson uses this narrative to think about how something seemingly unwanted is
an essential part that shapes the local society. Dust, or more the act of
removal of it, is here a source of income, a commodity, a border, and a
signifier of economic and social status. It dictates the choreography of urban
life through the endless looped activities associated with the impossible task
of erasing it. Structured around moments of meeting and intersecting, Economy
of the Dust references the elementary architectural language of Luanda –
objects, environments and situations that form the city. Juxtaposing elements
of opposite qualities and characteristics, the works share stories of
restriction, access, friction and hope.’


 Exhibition curation and words : Natalia Grabowska
Images : Installation Views
Image Credits : Theo Christelis


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&#60;img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/44dd18ca06c6817db99f63f49f284d2f38f12392a95f2a3f4e9b1bb1b751d9af/Natureza-Morta-I--_Economy-of-the-Dust_3.jpg" data-mid="144765733" border="0" data-scale="89" src="https://freight.cargo.site/w/1000/i/44dd18ca06c6817db99f63f49f284d2f38f12392a95f2a3f4e9b1bb1b751d9af/Natureza-Morta-I--_Economy-of-the-Dust_3.jpg" /&#62;
&#60;img width="2500" height="1668" width_o="2500" height_o="1668" data-src="https://freight.cargo.site/t/original/i/607da9c8c69e55e08356bd9bf16b34c416919f1cbb469b5677868cbf75f45939/Planta-VII--_Economy-of-the-Dust_.jpg" data-mid="144765809" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/607da9c8c69e55e08356bd9bf16b34c416919f1cbb469b5677868cbf75f45939/Planta-VII--_Economy-of-the-Dust_.jpg" /&#62;
&#60;img width="3422" height="2477" width_o="3422" height_o="2477" data-src="https://freight.cargo.site/t/original/i/21e5025371cb25b8b1de17bfdc3439a7279d6dee4c1d902d763d8b7788d7a3f9/Gradeamento--_Economy-of-the-Dust_.jpg" data-mid="144765596" border="0"  src="https://freight.cargo.site/w/1000/i/21e5025371cb25b8b1de17bfdc3439a7279d6dee4c1d902d763d8b7788d7a3f9/Gradeamento--_Economy-of-the-Dust_.jpg" /&#62;&#60;img width="3496" height="2480" width_o="3496" height_o="2480" data-src="https://freight.cargo.site/t/original/i/e65131b26462341d9f9f0abec006a27edcb367f20113b63ecb75c9c22e3240c7/Walk-Through_Sandra-Poulson-1.jpg" data-mid="155353491" border="0"  src="https://freight.cargo.site/w/1000/i/e65131b26462341d9f9f0abec006a27edcb367f20113b63ecb75c9c22e3240c7/Walk-Through_Sandra-Poulson-1.jpg" /&#62;

&#60;img width="3496" height="2480" width_o="3496" height_o="2480" data-src="https://freight.cargo.site/t/original/i/bb02a0db7d55a6e3f7f250dedf27e6691f98dcd6c852ddbc540215bbb7c34d8c/Walk-Through_Sandra-Poulson.jpg" data-mid="155353507" border="0"  src="https://freight.cargo.site/w/1000/i/bb02a0db7d55a6e3f7f250dedf27e6691f98dcd6c852ddbc540215bbb7c34d8c/Walk-Through_Sandra-Poulson.jpg" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>IN HALO WE TRUST LISTE BASEL</title>
				
		<link>https://sandrapoulson.com/IN-HALO-WE-TRUST-LISTE-BASEL</link>

		<pubDate>Wed, 06 Oct 2021 17:01:09 +0000</pubDate>

		<dc:creator>SANDRA POULSON</dc:creator>

		<guid isPermaLink="true">https://sandrapoulson.com/IN-HALO-WE-TRUST-LISTE-BASEL</guid>

		<description>IN HALO &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;WE TRUST&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;Liste Art Fair Basel 2021


This project aims to be a work of investigation discoursing on the semiotic and factual presence of western institutions across the Globe, while discovering or revisiting information and un-archiving knowledge on the relations of coloniality between the West and African Nations since their independence. It probes into my research of a particular aspect of my most recent project An Angolan Archive (2020): the semiotic presence of saviour entities in the context of post-conflict territories, such as post-colonial nation-states, as is the case of Angola. 


Gathering&#38;nbsp; thoughts 


As the investigation for a previous project&#38;nbsp; (An Angolan Archive 2019- 2020 )&#38;nbsp; continued it became reoccurring in my methodologies, to isolate particular objects and further interrogate their meaning, networks and role. It was also recurrent that such items seemed to me as naturalized objects, that were originally implanted in the territory that now, lacking another way to describe I will refer to as Angola.&#38;nbsp; Such objects have in common&#38;nbsp; the fact that they become more&#38;nbsp; familiar to the local landscape than to the geographies they come from. Often western countries. At the time, I found another imported physical artifact, which was the ‘EU flag Polo Shirt’ worn by farmers in the northern Angolan territory of Cabinda, which I have explored in my Thesis ‘The White President T-shirt – Semiotics in post colonial Angola. (The white polo shirt, states at the back ‘Clube de Agricultores Familiares Cabinda’ – Club of Family Farmers of Cabinda, just above a European Union flag that occupies most of the width of the back of the garment.) 


In Halo We Trust equally explores an object brought into the territory by an European organization, which then becomes part of the local landscape and societal memory, while at the same time, often almost not recognizable in the countries that run and fund the organization. ( The Halo Trust has been demining Angola since 1994, to possibly have their work completed by 2070 if the current pace of work is maintained. It currently employs about 700 people amongst many women and it is mainly funded by the UK, the USA, and an array of international oil companies. Overall the organization is also funded by Belgium, France, The Netherlands, Germany, among others)


The Halo Trust Waist Coat is the core piece of protective equipment worn by people mapping and removing landmines in Angola since 1994. It is originally of a sky blue colour and states the logo of the Halo trust at the centre inside a white cotton fabric rectangle. It usually has in the chest area, the flag of the country the demining is happening, and depending on the occasion, the flag of a country that funds the process in that region.&#38;nbsp; This work becomes particularly interested in the semiotic value of such signs&#38;nbsp; as actors in the course of personal actions, social practices and the study of societal memory form a decolonial standpoint.


It initially delves into the visual presence of ‘The Halo Trust’ in the country, and the popular understanding of the Halo Trust waist coat in our collective memory. During my research, I learnt that the most licensed image hash tagged #Angola, at the biggest world corporation for image licensing, was the photograph of Princess Diana walking through a minefield in Huambo, Central Angola in January 1997.


This visual piece of data has been continuously the most published and disseminated reference to the country in the international media, including newspapers, online articles, books, documentaries etc. Such a discovery brought questions regarding the body, context, visual semiotic representations, and both historical and contemporary networks at play between alleged ex-colonies and colonial empires. 


The work starts then interrogating the trajectory that leads to the implementation of the object (colonialism x the war for independency x the civil war x the cold war x the external interests in the civil war x Cabinda immense Oil reservoir x the imported landmines funded with that oil x the need to rebuild x and&#38;nbsp; never ending cycle of coloniality). It interrogates its meaning locally versus globally, and what happens to such values when the object is removed from its visual currencies, namely the logo stating the name of the Halo Trust, the colour, which helps trigger the memory regarding it’s purpose, and most importantly, the space. The space where the waistcoat has lived and existed more than in minefields in Angola, the body of Diana. The body that has represented the Angolan war, the country, the rebuilding of the country. A body with an ability to communicate and disseminate the local reality through 1 image. But, was it able? What happens to the object and the course of history it attempts to impact,&#38;nbsp; when removed from the space&#38;nbsp; that allows relatability? How can the local stories contribute to writing history? What is our history? 


This text (as this work) represents a process of thinking out loud and sketching possibilities to be explored.


	&#60;img width="1512" height="2016" width_o="1512" height_o="2016" data-src="https://freight.cargo.site/t/original/i/5372cd8fd8f119ec27f58da5fd99b689803d6801aff3a0c30bc85f316bd7e0a2/Additional-image---Close-up---In-halo-we-trust-installation-views---Sandra-Poulson.jpg" data-mid="123892930" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/5372cd8fd8f119ec27f58da5fd99b689803d6801aff3a0c30bc85f316bd7e0a2/Additional-image---Close-up---In-halo-we-trust-installation-views---Sandra-Poulson.jpg" /&#62;


&#60;img width="1464" height="1671" width_o="1464" height_o="1671" data-src="https://freight.cargo.site/t/original/i/92634b021a10a453477efbd13fab94282415c260db9ffb246a48bcc3b7ed206e/IMG_3011.jpg" data-mid="120910750" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/92634b021a10a453477efbd13fab94282415c260db9ffb246a48bcc3b7ed206e/IMG_3011.jpg" /&#62;

&#60;img width="1512" height="2016" width_o="1512" height_o="2016" data-src="https://freight.cargo.site/t/original/i/21cc69679bb9169ce55c44996b686fa0375c6c1392676b258e4ce170f3c20317/IMG_3115.jpg" data-mid="120910755" border="0"  src="https://freight.cargo.site/w/1000/i/21cc69679bb9169ce55c44996b686fa0375c6c1392676b258e4ce170f3c20317/IMG_3115.jpg" /&#62;
&#60;img width="1512" height="2016" width_o="1512" height_o="2016" data-src="https://freight.cargo.site/t/original/i/e8f5e19c9a3044933e6b5df9944736d6ca2ae3a82156bc8e1dc4bd90d448bb75/IMG_3053.jpg" data-mid="120910754" border="0"  src="https://freight.cargo.site/w/1000/i/e8f5e19c9a3044933e6b5df9944736d6ca2ae3a82156bc8e1dc4bd90d448bb75/IMG_3053.jpg" /&#62;
&#60;img width="1512" height="2016" width_o="1512" height_o="2016" data-src="https://freight.cargo.site/t/original/i/404b5405fd4ee8f746aecd74d0e460a5365fcd0061e60d6acf7ff8f3c6f6fb38/IMG_3116.jpg" data-mid="120910756" border="0"  src="https://freight.cargo.site/w/1000/i/404b5405fd4ee8f746aecd74d0e460a5365fcd0061e60d6acf7ff8f3c6f6fb38/IMG_3116.jpg" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/323a0461940a7991e9a5c7e84a18f7376f69d61192f3c22f86c9921d65d5cfca/perigo-minas-sticker.jpg" data-mid="120911096" border="0"  src="https://freight.cargo.site/w/1000/i/323a0461940a7991e9a5c7e84a18f7376f69d61192f3c22f86c9921d65d5cfca/perigo-minas-sticker.jpg" /&#62;
</description>
		
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	<item>
		<title>HOPE AS A PRAXIS</title>
				
		<link>https://sandrapoulson.com/HOPE-AS-A-PRAXIS</link>

		<pubDate>Mon, 06 Sep 2021 10:08:42 +0000</pubDate>

		<dc:creator>SANDRA POULSON</dc:creator>

		<guid isPermaLink="true">https://sandrapoulson.com/HOPE-AS-A-PRAXIS</guid>

		<description>

	HOPE AS A PRAXIS


	&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; ARCO MADIRD 2021

	
‘Hope As A Praxis’ focuses on the forms that
‘necessity’ takes, particularly on its capacity as ‘ability’. Need as ability
has been highlighted in mass by the changes the world has been subjected to,
demonstrating the symbiosis between crisis and resourcefulness. In Luanda
anything and everything has for long been a resource, and the concepts of
upcycling, recycling, and juxtaposing the worthless have continuously been the
reality. This work of investigation of Luanda’s livings and multiple realities,
looks closely at the material culture value of common household items that most
of the population own, across classes, and that are subjected to people’s
response to their material properties.


 The
site-specific installation comprises 17 iterations of chairs in the process of
breaking. The chairs are made of green satin fabric, and were pattern cut, sewn
and hardened based on the most common plastic chair used across the continent
in people’s households. In Luanda when a plastic chair breaks, and they really
do break all the time, people keep them in the house. Hoping to fix them by
juxtaposition with another plastic chair broken in a different part, two broken
chairs lead to a much stronger new one. 


The reality is, these chairs are the core home
furniture of most of the population, and therefore used beyond its ‘garden
chair’ purpose. In Angola, people call this furniture ‘espera condição’ which
translates to ‘wait for conditions’, the living conditions that often do not
arrive. The work therefore, exists in the space between lacking and having.
That space is the hope. Hope As A Praxis. The continual and essential belief
that something will improve.

&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/8213750c4e4ebead20699d68c30c93ae83b8fc6b441698a93e124b51350293be/IMG_0275.jpg" data-mid="118173097" border="0"  src="https://freight.cargo.site/w/1000/i/8213750c4e4ebead20699d68c30c93ae83b8fc6b441698a93e124b51350293be/IMG_0275.jpg" /&#62;&#38;nbsp; &#38;nbsp;&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/7762d699e85faa6f1ee36cd069282b136a6ed74acaede63e13c3a7523b56794c/IMG_0299.jpg" data-mid="118173104" border="0"  src="https://freight.cargo.site/w/1000/i/7762d699e85faa6f1ee36cd069282b136a6ed74acaede63e13c3a7523b56794c/IMG_0299.jpg" /&#62;&#38;nbsp; &#38;nbsp;&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/fa9f48f389bfc1a41642705b1e9906efa45fb8d97cbae8c25615b7c75e792ddd/this.jpg" data-mid="118173102" border="0"  src="https://freight.cargo.site/w/1000/i/fa9f48f389bfc1a41642705b1e9906efa45fb8d97cbae8c25615b7c75e792ddd/this.jpg" /&#62; &#38;nbsp;&#38;nbsp;&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/ca64402ee9b68e0c82c83b330e05d96728797cdcd133101f3ea7dd7ba645de10/IMG_0291.jpg" data-mid="118173105" border="0"  src="https://freight.cargo.site/w/1000/i/ca64402ee9b68e0c82c83b330e05d96728797cdcd133101f3ea7dd7ba645de10/IMG_0291.jpg" /&#62;&#60;img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/07703563281dd2a90625f2837f3d9633d46f447aa67f67b953ce694faee96399/this-2.jpg" data-mid="118173101" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/07703563281dd2a90625f2837f3d9633d46f447aa67f67b953ce694faee96399/this-2.jpg" /&#62;


</description>
		
	</item>
		
		
	<item>
		<title>HOME</title>
				
		<link>https://sandrapoulson.com/HOME</link>

		<pubDate>Thu, 06 Sep 2018 13:07:31 +0000</pubDate>

		<dc:creator>SANDRA POULSON</dc:creator>

		<guid isPermaLink="true">https://sandrapoulson.com/HOME</guid>

		<description>
	
	SANDRA POULSON

</description>
		
	</item>
		
		
	<item>
		<title>Puking Convo</title>
				
		<link>https://sandrapoulson.com/Puking-Convo</link>

		<pubDate>Thu, 06 Sep 2018 13:07:33 +0000</pubDate>

		<dc:creator>SANDRA POULSON</dc:creator>

		<guid isPermaLink="true">https://sandrapoulson.com/Puking-Convo</guid>

		<description>Puking Convo

This project operates as a land for investigation and discussion of practices of appropriation within art and design practices. The initial case study is the work of Grayson Perry, which is the commissioner as well as the tutor of the project, and  costumer of the final garment. Here I use a photograph of the lady Grayson aspires to look like when dressed up as his travesty alter-ego Claire – Princess Diana’s stepmother. Using it as a base to discuss through drawings  various layers of the contact zone between Europe and Africa starting from contacts that happened when the Portuguese arrived in Congo and Angola in the 15th century. ‘Puking convo’ is an opportunity for a direct conversation between two subjected representations of artists. Do they operate from  ‘opposite’ sides of the culture and cultural appropriation spectrum? The work acts as a trigger for discussion about matters such as hybridity within a post-colonial world, cultural  and religious assimilation, nuances of cultural appropriation, art popularization, colonization ‘purposes’, masculinity, power structures,  and a number of excuses used to justify the above. 


&#60;img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/a6811dfc86febe95365644257350dc283061883f11e26aa9b1d8582efbf0aefd/puking-insta-test3.jpg" data-mid="23681358" border="0"  src="https://freight.cargo.site/w/1000/i/a6811dfc86febe95365644257350dc283061883f11e26aa9b1d8582efbf0aefd/puking-insta-test3.jpg" /&#62;
&#60;img width="2480" height="3508" width_o="2480" height_o="3508" data-src="https://freight.cargo.site/t/original/i/48902b7abd4fb8cb8d16cf9648b9f504af74323a57857f40ba9417faf8c8f99d/bantu-grayson-insta--2.jpg" data-mid="23681357" border="0"  src="https://freight.cargo.site/w/1000/i/48902b7abd4fb8cb8d16cf9648b9f504af74323a57857f40ba9417faf8c8f99d/bantu-grayson-insta--2.jpg" /&#62;
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&#60;img width="1152" height="1396" width_o="1152" height_o="1396" data-src="https://freight.cargo.site/t/original/i/024051691b34a247838b5c64a50358cb6909223d827430301042d7c77c3e04e3/WEBSITE9.jpg" data-mid="23914480" border="0"  src="https://freight.cargo.site/w/1000/i/024051691b34a247838b5c64a50358cb6909223d827430301042d7c77c3e04e3/WEBSITE9.jpg" /&#62;
&#60;img width="3316" height="2426" width_o="3316" height_o="2426" data-src="https://freight.cargo.site/t/original/i/04d088cb7a04e6257cb95eec259ade34bbe90fae3a0b2190db5b6a8baf5994a8/P3316x2426-00014.png" data-mid="23919445" border="0"  src="https://freight.cargo.site/w/1000/i/04d088cb7a04e6257cb95eec259ade34bbe90fae3a0b2190db5b6a8baf5994a8/P3316x2426-00014.png" /&#62;
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&#60;img width="2722" height="3240" width_o="2722" height_o="3240" data-src="https://freight.cargo.site/t/original/i/7a5d840c4c1ea97d1d0dfff71fdf86247ae223dc340b013323ac75a6c5cdc913/WEBSITE2.jpg" data-mid="23913904" border="0"  src="https://freight.cargo.site/w/1000/i/7a5d840c4c1ea97d1d0dfff71fdf86247ae223dc340b013323ac75a6c5cdc913/WEBSITE2.jpg" /&#62;
&#60;img width="3508" height="2480" width_o="3508" height_o="2480" data-src="https://freight.cargo.site/t/original/i/27b516a00294a287e172f9d8e62eae0efe06d713b56b47a094e78387d9bded82/-A-COBRA-MATA.jpg" data-mid="23681351" border="0"  src="https://freight.cargo.site/w/1000/i/27b516a00294a287e172f9d8e62eae0efe06d713b56b47a094e78387d9bded82/-A-COBRA-MATA.jpg" /&#62;
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	<item>
		<title>AN ANGOLAN ARCHIVE</title>
				
		<link>https://sandrapoulson.com/AN-ANGOLAN-ARCHIVE</link>

		<pubDate>Tue, 23 Jun 2020 16:52:28 +0000</pubDate>

		<dc:creator>SANDRA POULSON</dc:creator>

		<guid isPermaLink="true">https://sandrapoulson.com/AN-ANGOLAN-ARCHIVE</guid>

		<description>AN 
ANGOLAN 
ARCHIVE

FINAL PROJECT BA FASHION PRINT&#38;nbsp;
@ CENTRAL SAINT MARTINS

&#38;nbsp; &#38;nbsp;
Online Video Show case:&#38;nbsp;

https://www.youtube.com/watch?v=y-6BHM3ljxE
(Watch ‘The Ladder’ video performance at 

05min03sec)


Online Press ID MAGAZINE -VICE&#38;nbsp; 

https://i-d.vice.com/en_uk/article/v7gbkd/students-central-saint-martins-graduates-2020


Online Press US VOGUE:&#38;nbsp;

https://www.vogue.com/article/central-saint-martins-2020-graduate-collections


Online Press CSM- UAL &#38;nbsp; https://www.arts.ac.uk/colleges/central-saint-martins/stories/fashion-poulson/_nocache?utm_campaign=later-linkinbio-csm_news&#38;amp;utm_content=later-8293357&#38;amp;utm_medium=social&#38;amp;utm_source=instagram


Online Press - Fashion Open Studio - Fashion Revoluution - &#38;nbsp;

https://www.instagram.com/fashionopenstudio/&#38;nbsp; &#38;nbsp;


This work is an archival piece of information explored through
documents, artefacts, garments, moments, headlines, oral tradition, historical
data, that define the sociocultural, economic, political, ethnic and cultural
landscape of Angola, focusing in Luanda. It operates as an instigator for
action towards progress by creating an opportunity for individual agency for
one to ‘discuss their own story’ and by all means tell it.


 AN ANGOLAN ARCHIVE&#38;nbsp; (AAA) is an assemblage of around 200
pieces of information in the form of written texts, research images, garments,
voice recordings, drawings, wood artefacts, installation, photography,
performance and video works. This is an on-going project that similarly to my
practice in general, utilizes a selection of common household Angolan items to
discuss the relationship between family and inherited societal memory from
colonial Angola and the civil war. Aiming to dismantle contemporary Angola
through semiotics studies of such ordinary objects as actors in cultural and
political on-going transformations. Here all items are studies not only in a
material level, but mostly in a material culture perspective. What is the
individual’s/society relationship with the material information?


 The task of decoloniality is central to this work, as the notion
of African led own Archives is still to confront the current realities being
depicted by external bodies.

It is important to mention that this work has now been developed
for around a year having experienced the world health crisis of Covid-19 and
the current also globally changing fight for the end of racial constructs and
discrimination within the West.


 The world changes and it is crucial to change the narratives.


&#60;img width="3024" height="3780" width_o="3024" height_o="3780" data-src="https://freight.cargo.site/t/original/i/9ab77b4b867026667a0ec44d207b4ef6c651fec6ad2363f634dd82479103387b/image-2-Sandra-Poulson.JPG" data-mid="75457316" border="0" data-scale="57" src="https://freight.cargo.site/w/1000/i/9ab77b4b867026667a0ec44d207b4ef6c651fec6ad2363f634dd82479103387b/image-2-Sandra-Poulson.JPG" /&#62;
&#38;nbsp;
&#60;img width="942" height="1392" width_o="942" height_o="1392" data-src="https://freight.cargo.site/t/original/i/1e945df893821d8a935b35ac02dd67d443e80c8581a914b74767514c13190e8e/image-1-Sandra-Poulson.png" data-mid="75457315" border="0" data-scale="82" src="https://freight.cargo.site/w/942/i/1e945df893821d8a935b35ac02dd67d443e80c8581a914b74767514c13190e8e/image-1-Sandra-Poulson.png" /&#62;

&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/ccbbe7866be4ffc7584466b069733d147ff1e9574d5c0f88702ab32e8a5f26b9/image-3-Sandra-Poulson.jpg" data-mid="75457317" border="0" data-scale="57" src="https://freight.cargo.site/w/1000/i/ccbbe7866be4ffc7584466b069733d147ff1e9574d5c0f88702ab32e8a5f26b9/image-3-Sandra-Poulson.jpg" /&#62;&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/e392ddd5c5e965004ae91190aee587464759518c078a8613936125daa1a57d5f/image-4-Sandra-Poulson.jpg" data-mid="75457319" border="0" data-scale="57" src="https://freight.cargo.site/w/1000/i/e392ddd5c5e965004ae91190aee587464759518c078a8613936125daa1a57d5f/image-4-Sandra-Poulson.jpg" /&#62;
&#60;img width="3508" height="4961" width_o="3508" height_o="4961" data-src="https://freight.cargo.site/t/original/i/3f3ae45085021e0268fbd2e740e61189ea8c356add62a94e804e839cbcf1ee70/website-5-aaa.jpg" data-mid="75483954" border="0"  src="https://freight.cargo.site/w/1000/i/3f3ae45085021e0268fbd2e740e61189ea8c356add62a94e804e839cbcf1ee70/website-5-aaa.jpg" /&#62;&#60;img width="3508" height="4961" width_o="3508" height_o="4961" data-src="https://freight.cargo.site/t/original/i/929f800800b02a905733a96acb9bf1a41719780bd36996e4bbbf1641a0cb7cc0/website-4-aaa.jpg" data-mid="75483965" border="0"  src="https://freight.cargo.site/w/1000/i/929f800800b02a905733a96acb9bf1a41719780bd36996e4bbbf1641a0cb7cc0/website-4-aaa.jpg" /&#62;

&#60;img width="3508" height="4961" width_o="3508" height_o="4961" data-src="https://freight.cargo.site/t/original/i/91415f627901de2a6f64062f6dfb1a3babf3e4bb172253ae2eacd2f688bc0587/website-9-aaa.jpg" data-mid="75491756" border="0"  src="https://freight.cargo.site/w/1000/i/91415f627901de2a6f64062f6dfb1a3babf3e4bb172253ae2eacd2f688bc0587/website-9-aaa.jpg" /&#62;


&#60;img width="3508" height="4961" width_o="3508" height_o="4961" data-src="https://freight.cargo.site/t/original/i/4cbff76c4f8fda9cac751f39ab877bb3362837c9652d3d20fed1df942ed35a96/website-8-aaa.jpg" data-mid="75485461" border="0"  src="https://freight.cargo.site/w/1000/i/4cbff76c4f8fda9cac751f39ab877bb3362837c9652d3d20fed1df942ed35a96/website-8-aaa.jpg" /&#62;


&#60;img width="7016" height="4961" width_o="7016" height_o="4961" data-src="https://freight.cargo.site/t/original/i/0a6707430dd66029b5d25e48fe5ef1f44176eaca8cb3507d7f6551e88c93ba47/website-3-aaa.jpg" data-mid="75487089" border="0"  src="https://freight.cargo.site/w/1000/i/0a6707430dd66029b5d25e48fe5ef1f44176eaca8cb3507d7f6551e88c93ba47/website-3-aaa.jpg" /&#62;

&#60;img width="4961" height="7016" width_o="4961" height_o="7016" data-src="https://freight.cargo.site/t/original/i/4d78dcaf089717b66da2ff2e1d136f63837a6f5099512ae050948896a08c519c/WEBSITE-13-AAA-HALO-NEW-NEW.jpg" data-mid="75492498" border="0"  src="https://freight.cargo.site/w/1000/i/4d78dcaf089717b66da2ff2e1d136f63837a6f5099512ae050948896a08c519c/WEBSITE-13-AAA-HALO-NEW-NEW.jpg" /&#62;
&#60;img width="7016" height="4961" width_o="7016" height_o="4961" data-src="https://freight.cargo.site/t/original/i/34207c604720e8dc203a2ee255e6de05a1c8c0fd8b7f547700fb6c1ea5b3ff47/website-10-aaa.jpg" data-mid="75491757" border="0"  src="https://freight.cargo.site/w/1000/i/34207c604720e8dc203a2ee255e6de05a1c8c0fd8b7f547700fb6c1ea5b3ff47/website-10-aaa.jpg" /&#62;</description>
		
	</item>
		
		
	<item>
		<title>LAGOS BIENNIAL 2019</title>
				
		<link>https://sandrapoulson.com/LAGOS-BIENNIAL-2019</link>

		<pubDate>Thu, 14 Nov 2019 13:22:15 +0000</pubDate>

		<dc:creator>SANDRA POULSON</dc:creator>

		<guid isPermaLink="true">https://sandrapoulson.com/LAGOS-BIENNIAL-2019</guid>

		<description>PLASTIC BROKEN CHAIRS, JUXTAPOSED. &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;
LAGOS BIENNIAL 2019, NIGERIA

This project is an ongoing conversation between Angolan artists Sandra Poulson and Raul Jorge Gourgel.

8+1+1
Wind responsive installation, 2018
8+1 is a reflection on group dynamics and the influence of external bodies in internal dynamics, considering cooperation, conflicts and humanity. It references the Angolan civil war (1975-2002) and works as a case study for nation building in a post colonial world.It operates as a space for discussion about the physical, social and political interactions among bodies willing to challenge dominant structures and narratives.&#38;nbsp; It also explores the potentialities of their interactions - the group existing as a body encapsulating various individuals. 
SHOWER WITH JUG AND BOWL,2019Vídeo (9:59sec) (Subtitles on the video are from ‘RESPONSIVE TEXT PIECE 2’, 2019)
The video ‘Shower with Jug and Bowl’ is set in Luanda/Angola, and reconstructs a typical scene of personal hygiene in Angola. The film was recorded in January 2019, operating as a land for discussion about ‘ Now allowed political conversations’, as well as being a symbolic retrospective of the 42 years of independence of the country and a commemorative gesture for the inauguration of a new president in 38 years.Within the scene there are a number of household symbolic items which, one could argue, most Angolans recognize and most likely own.The bucket, bowl and jug appear here as a reminder of a reality that almost horizontally affects the population. Across classes people are forced to resort to the bucket shower and bucket as a storage and means to carry water from local public taps for all households needs.PLASTIC BROKEN CHAIRS, JUXTAPOSED, 2019Inkjet photographsThis series of photographs operate as a land for discussion about the sociocultural and economic value of activities of informal nature within the city. Whilst posing questions about the sometimes not obvious disparities between various layers of a particularly complex society.It touches on the relationship between different modes of informality, such as economies, building techniques, re-appropriation of land by merchants and the exchange of informal currencies. As well as disentangles lack as a possible driving factor for such activities.Most of the photographs were taken in Chicala, a neighborhood in Luanda that is being gradually demolished as part of a regeneration project. As a consequence new businesses are emerging and re-occupying the land. Most of the women in the photographs are self-employed, and run businesses in the area.Shades of Noir, Hélio Bruno Buite, Sandra Poulson (Mother), Jaime Poulson, Henda Teixeira, Yúri Teixeira, Dalva Barros, Raul Feio, Denise Pinheiro, Lemba Cardoso, Ima Feio, Januário Jano, Pés Descalços Colectivo,&#38;nbsp;Moetaz Fathalla,&#38;nbsp;Mehak Vieira,&#38;nbsp;Aisha Richards, Kerian Magloire,&#38;nbsp;Angie Illman,&#38;nbsp;Alex Thomson,&#38;nbsp;Laura Baker,&#38;nbsp;Isabel Albiol Estrada.

&#60;img width="3508" height="2336" width_o="3508" height_o="2336" data-src="https://freight.cargo.site/t/original/i/a293a15fd3edd6b0abec4d6ea44f454c257f9158c76d68e7e5974f63429c0195/a44.jpg" data-mid="54717248" border="0"  src="https://freight.cargo.site/w/1000/i/a293a15fd3edd6b0abec4d6ea44f454c257f9158c76d68e7e5974f63429c0195/a44.jpg" /&#62;&#60;img width="2336" height="3508" width_o="2336" height_o="3508" data-src="https://freight.cargo.site/t/original/i/3f2bea1f30081050516d3af87c8c10d628d66bfc53a4f72bb9a59bbe06adae89/a4.jpg" data-mid="54717351" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/3f2bea1f30081050516d3af87c8c10d628d66bfc53a4f72bb9a59bbe06adae89/a4.jpg" /&#62;


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Still from ‘Shower with Jug and Bowl’, 2019


&#60;img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/8ab7d9d9782524f982db389bac53705174da80837f5a2a41e1249dc78863d012/image00022.jpeg" data-mid="54716637" border="0"  src="https://freight.cargo.site/w/1000/i/8ab7d9d9782524f982db389bac53705174da80837f5a2a41e1249dc78863d012/image00022.jpeg" /&#62;&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/42e4a7145013d78b1ec892ff80583dec08630479e531386d027b251c8ddca23b/image00032.jpeg" data-mid="54716539" border="0"  src="https://freight.cargo.site/w/1000/i/42e4a7145013d78b1ec892ff80583dec08630479e531386d027b251c8ddca23b/image00032.jpeg" /&#62;&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/45e51fc9122c808759dc6ae0476d025a38e15f65dc0559f163330177e9e41ed7/image00011.jpeg" data-mid="54716602" border="0"  src="https://freight.cargo.site/w/1000/i/45e51fc9122c808759dc6ae0476d025a38e15f65dc0559f163330177e9e41ed7/image00011.jpeg" /&#62;&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/be463a8f34119cc55b635c9eaff735564063852340551ffc4123103922e2f4ab/image00029.jpeg" data-mid="54716639" border="0"  src="https://freight.cargo.site/w/1000/i/be463a8f34119cc55b635c9eaff735564063852340551ffc4123103922e2f4ab/image00029.jpeg" /&#62;Still from SHOWER WITH JUG AND BOWL, 2019Vídeo (9:59sec)</description>
		
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	<item>
		<title>LUANDA/ANGOLA 1</title>
				
		<link>https://sandrapoulson.com/LUANDA-ANGOLA-1</link>

		<pubDate>Mon, 18 Mar 2019 17:41:51 +0000</pubDate>

		<dc:creator>SANDRA POULSON</dc:creator>

		<guid isPermaLink="true">https://sandrapoulson.com/LUANDA-ANGOLA-1</guid>

		<description>
	ESTA&#38;nbsp;É &#38;nbsp;A BOA MANDIOCA


‘TIA CATI’S BUSINESS IN CHICALA IS DAY LIGHT DRINKING SPOT. WHEN ASKED TO WEAR THE RED DRESS TIA CATI ASKED : FOR WHAT? LET ME SEE THE DRESS? BUT I DON’T EVENT HAVE MY HAIR DONE, AND I HAVE BEEN SWEATING ALL DAY. HER DRINKS SHOP, MAYBE CALLED BUTECO(JANELA ABERTA TALVEZ) &#38;nbsp;DEPENDING ON THE DINAMICS OR THE CLIENTELE, IS BEING RUN INSIDE A RE-USED SHIPPING CONTAINER IN THE NEIGHBORHOOD OF CHICALA IN LUANDA. CHICALA 2 ? IS GOING THROUGH A ‘REGENERATION’ PROJECT - LONDON STYLE- WHERE HOUSES AND BUSINESSES HAVE BEEN DEMOLISHED IN VÁRIOS STAGES. THE DEMOLITIONS ARE CURRENTLY SUSPENDED BY THE ORDER OF THE NEW PRESIDENT J.LO. THE HOMES AND BUSINESSES&#38;nbsp; THAT ALREADY BEEN DEMOLISHED ARE NOW FINDING THEIR SPACES&#38;nbsp; RE-OCCUPIED BY NEW TEMPORARY OCCUPANTS THAT TRANSFORMED THOSE TEMPORARY SPACES IN SOLUTIONS FOR THEM.’ ( Extract from ‘RESPONSIVE TEXT PIECE 2’ 2019)


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