Michael Forbes was born in Nottingham, England to a Jamaican mother in 1962. In 1988 he graduated with a BA in Photography from Nottingham Trent University, followed by an MA in Sculpture from the Royal College of Art, London (2020). Exploring racial politics, history, religion, and migration in his practice, Forbes often challenges perceptions of race, particularly the dichotomy of blackness and whiteness. His work ranges across sculpture, installation, and digital media, raising critical societal questions and inviting viewers to contemplate complex themes around identity and societal structures.
Artist and curator, Michael Forbes was born in Nottingham, England in 1962 to a Jamaican mother. Growing up in a foster home, he exhibited artistic talent while at school, enjoying woodwork and working with his hands. Forbes recalls that 'school was for me a quite nice escape from some of the madness in the foster home’ (Banjoko & Forbes in Conversation). He held his first exhibition at the Rencontres Internationales de la Photographie d’Arles, France in 1997, prior to gaining his BA in Photography from Nottingham Trent University in 1998. In 2002, he curated and exhibited in There is No Redemption at Nottingham Trent University, showing works alongside those by Johannes Phokela and Godfried Donkor. The exhibition critically examined the impacts of colonialism and African slavery on African and European histories. He also curated and contributed to The Redemptive Beauty of Life After Death, Bonington Gallery (2007) and a three-person show, Reformation at Yinka Shonibare's Guest Projects London, with artists Nadim Chaudry and Barbara Walker MBE (2018). In 2017, Forbes' work featured in the Diaspora Pavilion at the Venice Biennale. He subsequently completed his MA in Sculpture at the Royal College of Art in 2020.
Forbes' art powerfully explores themes of racial politics, history, religion, and migration, through sculpture, installation, photography, and digital media. He challenges established perceptions about race, especially the contrast between blackness and whiteness. He sees blackness as more than just a colour, describing it as ‘an identity, a sound, a spelling, an aesthetic, and an emotional value’ (Primary). His work critiques racial dominance, questioning its impact on society and advocating for the dismantling of white supremacy to achieve equality. Forbes often presents books within his installations, serving both as sculptural elements and as an invitation for viewers to learn and understand the complex societal structures and contexts he highlights.
Forbes' work Mapping the Black Body (2019–20, Government Art Collection) emerged in response to the question 'Why the black body?'. This piece combines theoretical and historical research with Forbes' personal experiences, using mind mapping software to visualise the black body's complex perception across society, interconnectin terms such as 'conditioning', 'incarceration', 'strength', 'Afro Punk', 'knowledge', 'religion’, 'Slave Trade', 'White spaces', 'consciousness', and 'desire'. Auto Portrait after Rembrandt (2019–21) is a series of self-portraits where Forbes wears synthetic wigs and baseball caps. Drawing inspiration from Rembrandt's playful self-portraits, Forbes positions himself at the centre of these images, his eyes partly covered by brightly coloured wigs. This project explores the complexities of gaze and self-perception, including the white gaze, black gaze, and photographic gaze. The work also touches on the politics of hair within the African diaspora, addressing notions of European beauty standards, colonisation, and sexuality.
Forbes’ ongoing series, Carnival... Beyond the Glitz of the Parade, which featured in his 2022 solo exhibition Blk this & Blk that... a State of Urgency at the Djanogly Gallery, Nottingham, explores the cultural heritage of the black African diaspora, as intertwined with European influences, and examined through the vibrant lens of Carnival. Transcending mere celebration, the project delves into the historical evolution of Carnival from its African and West Indian origins to its place in modern-day British streets. Its themes including ancestral traditions, the fusion of African and Catholic practices, and the celebration of black migration and presence in the UK. Addressing the underrepresentation of black individuals in the media, Forbes captures the essence of these cultural festivities while fostering a deeper understanding of the 'black British' identity. Blk this & Blk that... a State of Urgency also investigated the influence of religion on global citizens and its historical use in subjugation and exploitation, especially in the context of white supremacy. His installation Untitled I featured dismembered Jesmonite torsos of the crucified Christ suspended upside down with life jackets, symbolising recent political and humanitarian crises. The work powerfully addressed the theme of how the white European male has historically dominated the image of Christ. It confronted white viewers with the challenging question of reconciling their exemplification of Christ while benefiting from the injustices associated with whiteness. Forbes’ solo exhibition Want the World to Know at the Saatchi Gallery (2023) included text-based works reflecting slogans from the 2020 BLM protests, exploring the demonisation and fetishisation of the Black body, alongside haute couture imagery to challenge narratives around privilege, offering a critical commentary on contemporary societal issues.
Forbes was the recipient of the 2020 Yorkshire Sculpture Park (YSP) Royal College of Art Graduate Award. He is a co-founder of Primary, an artist-led studio complex in Nottingham, which emphasises supporting creative research and engaging the public with contemporary visual art. Additionally, he played a key role in the early development and programming of the New Art Exchange (NAE) in Nottingham. In the UK public domain Forbes’ work is represented in the Government Art Collection.
Consult items in the Ben Uri archive related to [Michael Forbes]
Publications related to [Michael Forbes] in the Ben Uri Library