Aislinn Finnegan was born to Northern-Irish and Zambian parents in Zimbabwe in 1996. She initially studied Textiles at Manchester School of Art, soon shifting to Illustration as she felt she was more drawn to the immediacy of drawing (2015–2018). Her illustrations investigate complex perspectives on issues of race, identity, and femininity and she centres Black womxn in her work, through an Afro-futurist lens, to address their underrepresentation in both media and the art world.
Illustrator Aislinn Finnegan was born to Northern-Irish and Zambian parents in Zimbabwe in 1996. She developed an early interest in art and her father encouraged this passion by making museum and exhibit visits a regular activity during their travels. While appreciating the diversity of art, Finnegan also noticed the absence of artists who resembled her. While pursuing her GCSEs and A-Levels, Finnegan aimed to delve into non-western art. However, the restrictive curriculum steered her towards more traditional subjects such as flower painting, landscapes, and architecture. She initially studied textiles at Manchester School of Art (2015–18). However, she quickly discovered her affinity for the immediacy of drawing. As a result, she shifted to illustration and digital illustration, where she felt her expression was most authentic. Relocating to Manchester also prompted Finnegan to reevaluate her identity and origins. She declared, ‘I became very aware that I was a Northern Irish-Zambian, bi-racial, 'third culture kid' living in the 'Western' world, making art’’ (as cited in Snearl). While pursuing her degree, Finnegan frequently visited the Manchester Gallery, known for its emphasis on BAME artists, for inspiration. It was there that she encountered British Afro-Caribbean artist Sonia Boyce's impactful work, which significantly influenced the direction of her own art and perspectives.
Finnegan's illustrations investigate complex and nuanced perspectives on issues of race, identity, and femininity. Through an Afro-futurist lens, Finnegan centers Black womxn in her work to address their underrepresentation in both media and the art world. She also questions traditional 'Western' beauty norms. Her illustrations are characterised by the use of diverse textures and vibrant colours, influenced by her Zambian heritage. As she has declared, ‘I feel empowered and inspired by my own experiences of inequalities that prevail in many aspects of my life, within art institutions and popular culture. I use portraiture to create a narrative that celebrates Blackness in all its glory’ (Baum Und Pferdgarten). Utilising a minimalist style, Finnegan employs a palette of black, white, and earth tones to emphasise her detailed line work and patterning. These elements serve to explore the intersections of personal identity and aesthetics. In her work, Finnegan challenges racial stereotypes and seeks to connect with her roots. She incorporates elements from various African diasporic art forms, particularly focusing on adornments such as jewellery, makeup, and Afro hairstyles, both traditional and contemporary. In particular, the diverse textures and styles of Afro hair provide her with a wide range of creative options.
The women in Finnegan's portraits serve as reflections of herself and other BAME women, depicted in an elevated and elaborately adorned manner. She celebrates Blackness through diverse aesthetics and styles that make each portrait unique. The subjects exude pride in their heritage and skin colour, which is further accentuated by vibrant backgrounds. Finnegan has pointed out that art history has traditionally portrayed Black women as angry, over-sexualised, or as servants. In contrast, her work seeks to present these women with a broader range of emotions, capturing expressions that are neutral, melancholic, and contemplative.
Beyond her Manchester School of Art Degree Show (2018), Finnegan's work has been showcased at African Art Shared, Nexus Creative Hub, Croydon (2020) and Leaf Art Space, Manchester (2022). Following her undergraduate studies Finnegan has pursued an MA in History of (African & Asian) Art at The School of Oriental and African Studies (SOAS) in London. Finnegan’s work is not currently represented in UK public collections.