In the vibrant landscape of contemporary British art, few emerging talents capture the essence of Black British identity with as much nuance and vivacity as Brianna Lois Parker. Born in 1998, this Caribbean-British oil painter has rapidly ascended to prominence, her work serving as a powerful lens through which the intergenerational experiences of Black Britons are masterfully portrayed. Parker's canvases are more than mere images; they are cultural artifacts, imbued with the rich tapestry of everyday life in Britain's diverse communities. Her ability to trigger cultural nostalgia through visual narratives has positioned her at the forefront of a new wave of artists who are redefining what it means to be both Black and British in the 21st century.
Parker's journey from Kingston School of Art graduate to award-winning artist is a testament to her exceptional talent and unwavering dedication to her craft. In 2023, she was awarded the prestigious Margate Art Prize by none other than Dame Tracey Emin DBE RA, a recognition that solidified her status as one of Britain's most promising young artists. This accolade was swiftly followed by a commission from Netflix to create a painting for the "Portrait of a Top Boy" exhibition, celebrating the BAFTA award-winning show "Top Boy." The resulting work, displayed at Somerset House and featured in the National Portrait Gallery's online collection, demonstrates Parker's ability to capture the complexities of urban life and identity with striking authenticity. Her selection to feature in Sky Portrait Artist of the Year 2024 further underscores her rising prominence in the art world.
What sets Parker apart is not just her technical prowess, but her deeply personal approach to her subjects. Each painting is infused with an intimate understanding of the individuals portrayed, adding layers of character and identity that resonate deeply with viewers. This connection is evident in her participation in exhibitions such as "What I Thought I Knew" at The Bernie Grant Centre and "Game Changers" at The Bingham Riverhouse. Parker's work is a crucial part of the ongoing Black British cultural renaissance, standing alongside breakthrough achievements in music, film, and fashion. As she continues to evolve as an artist, Brianna Lois Parker is not just documenting the Black British experience; she is actively shaping the narrative, creating a visual legacy that will undoubtedly influence generations to come. Her art serves as a powerful reminder of the importance of representation and the enduring strength of community, making her a true luminary in the celebration of Black History Month and beyond.
Q: Your journey from Kingston School of Art to winning the Margate Art Prize has been remarkable. What advice would you give to young artists who are just starting their careers in fine art?
My biggest tip is to stay true to yourself and to make work you’re passionate about, as solely making work to appease others takes the joy out of creating. Also to approach the art-world with love and authenticity, you will come across individuals who are extremely egotistical and feed on negativity, learn to identify this and do not take anything personal. To anyone dealing with racism or classism in art school my dms are always open if you need support or just need to vent to someone who will actually understand.
Q: Your work often depicts personal connections and everyday experiences. How do you balance staying true to your artistic vision while also navigating the commercial aspects of the art world?
I make work I want to see in the art-world. The goal has always been to increase Black British representation, commercial success has later followed with my growth as an artist to support my practice.
Q: You've had the opportunity to work on high-profile projects like the "Portrait of a Top Boy" exhibition. How have these experiences shaped your approach to your craft and your perspective on the art industry?
After the Top Boy exhibition I was inspired to create paintings on a larger scale. It also taught me the value of discipline and time management. The tight two-week deadline for that project pushed me to develop a more structured process breaking the painting down into sections with mini-deadlines to ensure I stayed on track.
Being more intentional, rather than going with the flow, has been transformative, as setting clear goals helps me avoid a painting taking 100 years. This project made conscious of how the art industry often demands balance between creativity and practical constraints, like deadlines and expectations, whilst remaining true to my vision.
Q: Looking forward, how do you hope your work will impact future generations of Black British artists and the broader conversation around diversity in art?
It seems that we are experiencing a cultural renaissance, I am excited to see more work that is visibly Black British representing experiences, histories, and aesthetics that have shaped our communities. Our culture needs to be celebrated and documented through the paint brush, as Britain would not have it’s greatness without us. We deserve the ability to step into an art spaces and experience raw connections, with work that is bold, not just through abstraction. Looking forward I hope our art grows beyond tokenism, towards a richer, more representative landscape.