Roshini Kempadoo

Roshini Kempadoo is a London based photographer, media artist, and Reader in Media Practice at the School of Social Sciences, and Humanities, University of East London. She has exhibited internationally in solo and group shows, writes for art and academic journals, and presents work to international lectures and events.

Recent shows include: Liminal: A Question of Position (2009), Rivington Place, London; Art & Emancipation In Jamaica: Isaac Mendes Belisario And His Worlds, (2007) Yale Center for British Art, New Haven‚ USA; her retrospective Roshini Kempadoo work: 1990 – 2004, (2004) Pitzhanger Manor and Gallery, London; and A Place Called Home, (2004) South Africa Art Gallery (SANG), Cape Town.

Invited presentations, scholarly invitations, and fellowships include: Visiting Scholar, ‘The Global City and Media Ethnography: Practice-led Transcultural Media Research’ New York University, the American University Paris; Invited speaker UTT The Fellows’ Gatherings, The Academy at UTT for Arts, Letters, Culture and Public Affairs, University of Trinidad and Tobago, (2008); Migration, Media, Archive, National Galleries of Scotland, Edinburgh (2008); Black Diaspora Artists, Past and Present, Raphael Samuel History Centre event, Conway Hall, London (2006); Visiting DuPont fellowship at The Art Institute, Boston, USA and invited speaker to The Visual Culture Colloquium, Department of History of Art, Cornell University, USA (2003).

Dr. Kempadoo holds post doctorate degrees in Art and Cultural Studies from Goldsmiths College, University of London (2008) and in Photography from the University of Derby. Published illustrated writings include: ‘Amendments: A fictional re-imagining of the Trinidad archive.’(2008) Journal of Media Practice, 9:2, pp. 87 – 99 and ‘Back Routes: historical articulation in multimedia production,’ in Alan Grossman and Áine O'Brien (eds.) 2007 Projecting Migration: Transcultural Documentary Practice, Wallflower Press, London, pp. 199 – 215.

Roshini was born in England, spending her formative years in the Caribbean (Barbados, Trinidad, Jamaica, and Guyana). She is currently creating a multimedia art installation for international tour Domino Effects (2011) based on women’s rights, protest, and resistance that builds on her recent research of the Trinidad archives.