Dulcie Davy is your artist’s favourite artist. Hailing from South London, Davy’s paintings, plant pots and it-girl incense holders celebrate the multifaceted beauty of Black women in a world where we’re used to seeing them through the reductive lenses of trauma and hardship.
Davy’s rise has been nothing short of extraordinary, from a solo exhibition at Soho House Studios, to orchestrating London’s famous "Paint & Sip" events at the Battersea Arts Centre. There’s nothing she can’t do.
FORE spoke to the potter's wheel princess about femininity, the influence of Afrofuturism, and what it means to pay it forward.
Q: You host Davy Workshops, a creative workshop hub for BME girls between 15-19 years old. Why are initiatives like this important to you?
“I think it is super important for young women to have safe spaces to nurture their creativity, whether they are interested in pursuing a creative career or not. Central to all my work is the empowerment of women, particularly women from minority ethnic groups. I think initiatives like this are beneficial for young girls to meet each other, to connect and engage in activities that are therapeutic and keep their creative momentum going. In a society where we are constantly consuming, connecting to the present and creating something of your own is extremely valuable - especially at an age where you’re learning so much about yourself.”
Q: Why is Afrofuturism the lens through which you view and create your art?
“I love sci-fi! Afrofuturism is a branch of sci-fi that is specifically focused on black people. I love it because black people, particularly black women, have been ignored within the genre of sci fi since forever. I hardly see myself or the people in my life represented in the genre unless I’m watching Marvel’s Black Panther. What if it was normal for black kids to see themselves in a spaceship, or exploring an alien planet, or just in the FUTURE. One of my favourite books is a book of sci-fi short stories called “when is black future month?” - I think that’s the perfect question.”
Q: Your large-scale paintings celebrate the essence of the divine feminine. What aspects of femininity and womanhood are you most drawn to in your artwork, and how do you convey them?
“I’m kind of obsessed with pregnancy and the fact that women are the gatekeepers of earth. We are the door to this realm we live in and I don’t think it’s understood deeply enough. So I focus on that a lot within my work. Having been raised in an almost all female family, I’m just greatly appreciative of women and find us really inspiring and beautiful. So it naturally comes out in what I create.“
Q: You've exhibited your works in various venues and collaborated with well-known brands and artists. How has this impacted your artistic journey?
“I’ve always been a bit of an “island”. I make work by myself and spend a lot of time by myself thinking and planning the work I want to make. When I started making art in 2020 I had zero connections, zero links to the creative scene/industry, it was just me in my room making clay heads on a table. The collabs I’ve done have helped me involve others in my creative process and share the experience, which is great cause I know doing everything solo isn’t actually in my best interest. I’m always up for collaboration if our visions align.”
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