Richard Forensky posted a photo:

Richard Forensky posted a photo:

For millennia, humans have navigated seas, rivers, and oceans as avenues for trade, exploration, conquest, and colonization. During the Age of Discovery—an era interwoven with what’s known as the Age of Sail—European explorers and traders embarked on journeys around the world to map previously uncharted continents, trade commodities, and establish new socio-political outposts. Imperial forces competed with one another to control as much as they could, all in the name of wealth and power, and individual landowners and traders profited immensely. But sustaining a presence in far-flung places would never have been remotely possible, nevertheless successful, without slavery.

Well into the 19th century, humans were transported through a vast slave network, with millions crammed aboard ships bound for various parts of Europe or North America. For London-based artist LR Vandy, the layered and often fraught legacies of labor, shipping, and trade undergird a distinctive sculptural practice.

Vandy’s studio is based at Chatham Historic Dockyard in Kent, where the history of wooden ships is alive and well. She uses materials such as Manila rope—a thick nautical rope made from the abaca plant, which is native to The Philippines—bobbers, navigation equipment, ship’s helms, hull-shaped wooden forms, and more, to explore the tangles of maritime history.

Vandy’s exhibition titled Rise, in The Weston Gallery at Yorkshire Sculpture Park, marks the artist’s first solo museum show. Many of the works seen here are included in the show, while others represent earlier pieces. In her most recent work, the rope is a central focus as she explores its “entanglement in human
history, its role in the development of civilisations, and its inextricable links to colonial enslavement of people,” says an exhibition statement. Everyday objects are repurposed and manipulated in an ongoing inquiry into process and materials, especially “drawing attention to the social, economic and political systems embedded within everyday objects.”

Anchoring the space at Yorkshire Sculpture Park is a giant, rope-covered form evocative of a maypole, nodding to historic European folk traditions that celebrate community, ritual, and regeneration. Other objects appear to spin or sway, as if skirts are swishing or invisible players move through a series of games. “My practice centres the hidden human costs of colonialism, transportation systems and commodities, and the knotted histories of trade and power they contain,” Vandy says in a statement. “The title, Rise, references ideas of resilience, protest, liberation, and collective joy explored through rituals and dance.”

Rise continues through September 13 in Wakefield. If you go, also see Nicola Turner’s dramatic exhibition, Time’s Scythe. Learn more and plan your visit on the park’s website, and follow Vandy on Instagram for updates.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article LR Vandy’s Rope Sculptures Disentangle Histories of Colonialism and Transportation appeared first on Colossal.

karendore posted a photo:

Karen Dore Photography

dimparcio posted a photo:

Operative of the French Resistance with the Cross of Lorraine on her right arm.

Operation Jedburgh was a clandestine operation organised by special operations units from Great Britain, the USA and the French government in exile.


Ironbridge 40's Weekend 2026, held 23rd and 24th May 2026 at Dale End Park, Ironbridge, in Shropshire. An annual 1940's military and civilian re-enactment, using themes and characters mostly from the European theatre of conflict. As always, the atmosphere was fun, friendly and vibrant. Photos taken

Pictures were taken on the Sunday, 24/05/26, at a public event where it is assumed to be OK to publish on the internet. Permission was granted by the subjects for posed photos. However, if anyone wants any photo removed from this set, please contact me, Bob, at dimparcio@protonmail quoting the file number eg DSC1234 and I will do so forthwith. Otherwise, if you like them and would like to download them, please do so, especially if it helps promote re-enactments such as this.

BioKnowlogy posted a photo:

Ebony, May 1963