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Moving to Birmingham, UK, from Kingston, Jamaica, as a child, Eugene Palmer uses figurative painting to explore the British black diaspora. Drawing on the experience of being immersed in British culture while remaining symbolically outside of it due to the colour of his skin, Palmer deals deftly with issues of race and representation all while resisting didacticism.
Sourcing images from life, pop culture and beyond, Palmer begins with a photograph before passing it through his painterly filter; figuring his own family as a repository of cultural history and memory, archival images and family photographs have been at the core of his practice since the 1980s. In Standing Still, Palmer presents paintings based upon two recent family celebrations: one the marriage of his youngest daughter, and the other a family reunion spanning four generations.
