SHANICE PALMER

Shanice Palmer is a humanwear designer and multidisciplinary artist from south London.

Graduating from London College of Fashion in 2017 with a degree in Fashion Design Menswear, she has since gone on to have a successful career as a product development specialist for a variety of brands within the creative arts.

Shanice has used her time on the MA fashion programme at the Royal College of Art to expand her design expression beyond products for the traditional body and welcome an expansion of the body beyond the individual. Her work is inspired by community contribution, exploring notions of identity and value as a collective. Her current body of work stands as a testament to the transformative power of storytelling, offering glimpses into a future where the black experience is reimagined as a collective using curated workshops as a catalyst to unveil honest narratives.

Her work has been featured in various exhibits and publications including London Design Biennale, Dezeen, the Evening Standard and Dazed Digital. Shanice is also the recipient of The Sir Frank Bowling Scholarship, which ensures that students from ethnic minorities and marginalised communities have equal access to Art and Design education.

‘UBUNTU. I.. am what I am because of who we all are.’ Archbishop Desmond Tutu

My practice is a reflection of my lived experiences merged with the parables passed down to me by my Jamaican grandmother. These narratives serve as the foundation of my artistic expression. I utilise my design skills to capture the imperfect beauty that comes with growing up in an inner-city environment, juxtaposing it with the profound and prophetic interpretations shared by my grandmother. My intention is to bring these golden tales to life and share their transformative power.

My current body of work serves as a testament to the power of storytelling and its ability to shape the future, particularly in relation to notions of luxury and identity. I believe that by sharing honest expressions and creating inclusive spaces that amplify unheard voices, we can tap into a collective consciousness that nurtures a sense of community, healing, and empowerment.

Through my recent engagement with the local community in Croydon, I have hosted workshops that impart heritage crafts such as clay mould-making and lost wax casting. These workshops serve as catalysts for play, conversation, and exploration, guiding participants towards the co-creation of a new narrative that celebrates our shared heritage.

My art seeks to transcend boundaries, challenge conventional norms, and ignite meaningful dialogues. It stands as a testament to the transformative power of storytelling—an instrument through which we can shape a future of infinite possibilities, driven by collective imagination.

Installation — Knot, Tye, Braid [community workshop]

Workshop In Motion

Adornment Artifact — Bronze

Research — Adornment + Devotion

Process — Wax Water Mould, Lost Wax Casting

Research — Contents of UBUNTU

Symbols in Clay — Workshop Stills

Clay Symbols — Workshop Outcomes

Understanding Value

Does the natural essence of bronze, an earthly element, truly embody its intrinsic worth? The hands of artisans and the workings of machines can enhance its value through manipulation and shaping. Nevertheless, bronze remains infinite, unyielding in its existence regardless of the forms it assumes. It cannot vanish or dissolve.

If I were to secure the bronze in a safe place and carry a paper printout of it instead, would the visual representation hold equal value to the genuine article? Does this signify the initial stage of artifice? Could it be a pledge, ensuring the presence of the element? Can I replicate it and more? Will the paper image ever restore the value back to its elemental form?

And then we delve into the realm of the digital. Without the need for physical prints, the bronze image can reside on a digital device. Can the aid of technology retain the same value, competing with the tangible essence of the element? Can I generate numerous digital copies, manipulate them in diverse ways, and effortlessly share them via email and transfers to others? Will I ever find necessity in grasping the tangible bronze once more?

Does beholding the visual representation of bronze suffice to justify the value it holds?

Are the value systems upon which our societies are constructed now outdated, rendered obsolete by the passage of time?

Bronze Artefact — Fastening

Bronze Artefact

Artefact Fastening + Recycled Yarn

Inspired Body Form — Recycled Yarn + Aluminium Metal

Workshop Inspired Body Fittings

Game — A New Narrative Discussion Cards

“If its not good for everyone, it’s no good at all” some native people

In Collaboration with:

Special Thanks

Sir Frank Bowling, Mohamed Sawyer, Hannah Marshall, Adebayo Bolaji, Zowie Broach, Doreen Adusei, Philip Delamore, Yanna Marie, Lee-Roy Zozo, Gus Brooks-Simpson, Hugo Garcia, Sam Royle, Saffron Cann, Natalie Mensah, Gemma Okoke, Ella Shiraz, Franziskus Pöschl, Kim Lang, Comfort, Chioma, Kalu, Pippa, Joshua, Sergey, To my surrounding community — Your contribution, time and perspective to develop the concept of ‘A NEW NARRATIVE'

SHANICE PALMER

In Collaboration with:

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About

Royal College of Art