Artist in conversation: Tati El Mallah
“I’m emotionally invested in everything I make, it’s hard not to be, but I equally resent art that tries to evoke a specific reaction. My feelings are in it, my participants feelings are in it and any reaction to that is honest and welcome”
Maneuvering between identities, London based artist Tati Mallah’s work seeks to explore communities and individuals who reside in the gaps of social hierarchy. Working with a specialty in conceptual photography, experimental filmmaking, and narrative installation. Having launched their creative practice in New York City, and London, the Nigerian/ Lebanese artist, takes on a global approach to overlooked bodies and the decolonization of memory.
What initially inspired you to become an artist, and how did you develop your unique style?
I can’t say I ever had a specific inspiration; I’ve been making it for as long as I can remember. What prompted me to pursue a career in the arts though, was a summer residency I did the year before graduating sixth form. It was the first time I’d ever been surrounded by a community of like-minded people, and that changed my wants for the future.
Do you have any rituals or routines that help you get into a creative mindset when starting a new project?
I have a massive notes page that I’m constantly adding too. Anytime I see something I like or have a thought I want to expand on. Every few months I check back in with it and see what ideas I’m gravitating towards, some things I end up wanting to explore much sooner than I think, but some things never get touched.
In what ways do you think art can contribute to social change, particularly regarding issues of social hierarchy and decolonization?
I’ve always used my art to tell stories, to look at specific memories, particularly neglected ones. I think learning from people is the most important aspect of change. I’m a firm believer that looking at communities as one big monolith with the same opinions and experiences does a disservice. We need a breadth of art, stories and histories from them, that’s how change begins.
Can you discuss the role of collaboration in your work? Are there any particular artists or communities you have enjoyed working with?
Collaboration is central to my work, and I feel always fleshes out my ideas. One of my favourite experiences so far has been working for the Make Space Residency at Kingswood House. It was a huge collaborative experience with a mix of artists of colour, at different points of their careers, all working towards the same theme of transformation. It was fantastic to learn from so many different people.
How do you incorporate feedback from critics and audiences into your artistic practice, and how do you balance this feedback with your own artistic intuition?
I think feedback is essential, good, or bad. Often as artists we forget that other people aren’t in our heads, it’s always a good exercise to see how people first respond to your work. I’m a big fan of that around the halfway mark of a project, once it’s started to take shape but still has time for edits. That way you’ve developed your style effectively but still have space to grow.
Is there a particular piece or project in your body of work that holds significant personal meaning to you? Can you share the story behind it and why it stands out among your creations?
The work I’m exhibiting for the Holy Art in June. ‘A Present’ is by far the most personal piece I’ve made and influenced my life in a way none of my work ever has. My mothers history being central to the work means that I learned so much about her and the similarities between us I would have never uncovered.
How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?
I never put too much pressure on myself when it comes to personal projects. I think it’s easier to remove yourself from things that aren’t as directly attached to you but part of projects is the room to breathe. Editing always comes easier to me when I’ve taken a moment away.
How do you feel about exhibiting your artworks at The Holy Art Gallery?
Really excited. I live around the corner and have been visiting the space consistently for ages. Having an opportunity to exhibit here feels perfect.
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
I think developing my practice is my ultimate goal. I’m interested in curation and building relationships with other artists with different practices. I’ve always learnt most from people who work with different mediums to me. Education is part of the industry that greatly interests me as well, I’d love to build a more interactive way of working.
What role does emotion play in your creative process, and and how do you aim to evoke specific feelings or reactions from those who view your artworks?
I’m emotionally invested in everything I make, it’s hard not to be, but I equally resent art that tries to evoke a specific reaction. My feelings are in it, my participants feelings are in it and any reaction to that is honest and welcome.
