Interview Between Joshua Omeke and Talia Nizarane

Joshua: Can you tell us about your early artistic influences in Cuba and how they shaped your creative process?

Talia: I attended Academy San Alejandro, a progressive public school in Havana with low ratios of lecturer to student (2:1) (A-levels equivalent). There, I had access to top thinkers at the national level, including artists Jose Cueli, Anyel Maidelin Calzadilla, Zenen Vizcaino, and Javier Arteaga. They would import books and movies to Cuba, including material that was not available in local libraries or to the public. (The Internet became available for the first time in 2019.) This early access influenced my thinking and creative process.

Joshua: What motivated you to move to the UK, and how has living here influenced your art compared to your time in Cuba?

Talia: I came to the UK looking for networks, tools and materials that are not available in Cuba. Rich, multicultural scene of Britain. Opportunity to join RCA, the world’s leading university of arts, as the first Cuban to ever attend. Looking to expand my horizons, learn new ways of doing and living. Chance to learn and improve my English. Try something new, embrace challenges and learning opportunities. Grow beyond my comfort zone, as an artist, thinker, and researcher, through new references and frameworks.

I learned to adopt a global perspective. Growing up on an island as I did, it can be hard to do so. I gained a better understanding and engagement with the history of art. A multicultural city like London and a course like RCA exposed me to a wide range of people from different nationalities, races, ability levels, and cultural backgrounds. Diversity and accessibility in the arts became a new interest and theme in my work. I deepened my understanding of the climate emergency and the role of art as a tool for social change.

Joshua: You’ve exhibited in Germany, the Netherlands, Japan, and Switzerland. How do the artistic cultures in these countries differ from Cuba and the UK, and how has that influenced your work?

Talia: I found the UK more individualistic, time-starved, harder to build relationships, and networks are dispersed. Cuba is a collectivistic culture, people are more generous with their time. Havana is much smaller than London, with established galleries and limited opportunities, it is obvious how to move forward in your creative path. Less competitive, smaller pool of candidates. Only one acceptable way of making a creative career work. Work that doesn’t fit the criteria gets no visibility. Dominant narratives are also in the UK, but more tolerance and funding for people and organisations promoting different ways of presenting.

Joshua: What challenges did you face as a Cuban artist when first arriving in the UK, and how did you overcome them?

Talia: Opening a bank account without a financial record. Renting without a grantor. Securing visas to exhibit abroad, restricted to artists and cultural workers by uneducated key decision makers who lack understanding of art activities or the contributions of culture. Experiencing challenges related to being a disabled female migrant from a working-class background.

Overcoming challenges through funding and mentoring. Educating myself and others about my strengths and areas of improvement. Identifying support groups with creative and like-minded individuals with similar experiences. Working on my soft skills, including my communication skills. Continuous learning and growing. Welcoming challenges as learning opportunities. The power of collaboration, reaching out to people.

Joshua: How does your Cuban heritage and identity come through in your work, especially in international contexts where cultural differences may be more pronounced?

Talia: My art explores the cultural impact of migration, references Cuban migrant history with the US and the migrant crisis shaking the world. Massive migrant exodus in Cuba in the 80s, where I lost my grandfather. (Cubans built precarious boats to attempt to reach the US. Every Cuban has a son, a parent, a neighbour or a friend they lost to this. Broken families and couples as a result.) The information available about migration focuses on numbers - quantitative, how many boats, how many dead men - but ignores the human aspect. I wanted to create work that explores the human stories behind.

Joshua: How do you feel your time in countries like Germany, Japan, and Switzerland has impacted the style or themes of your art?

Talia: In Switzerland, I collaborated with artists and designers from the Abkhazian region, a semi-recognised territory. I explored the peacebuilding efforts of cultural workers in Nagorno-Karabakh.

New themes: global perspective
New style: major scale, benefited from accessing materials and resources. (Refer to question 2)

Currently working on developing my aesthetic and creative voice.

Joshua: What kind of reception did your work receive in these different countries? Did you notice any unique responses from audiences in each location?

Talia: Read my work as exotic and reduced my voice to my national identity. I was regarded for the first time as a non-white artist, even though I was never considered black in Cuba. My work was categorised as South American or diaspora, grouped with Brazilian, Mexican and Colombian art. Key differences between our territories were ignored (different cultures, food, national histories, traditions, heritage, languages). Audiences, gallerists, and collaborators were biased and assumed things about my identity based on limited and inaccurate information on my background, assumptions that were not necessarily true, nor did they apply to my creative work and professional path. It is still very frustrating.

On the other hand, in Cuba (2018-2019, before I migrated) - My performances and installations exhibited at events were perceived as a brave step away from commercial work (commercial painting).

Joshua: Has exhibiting internationally opened up new themes or mediums in your art? If so, could you share an example?

Talia: Urushi lacquering encounter in Kyoto as part of the Kyoto Award. (Self-preservation series)

Joshua: How do you balance staying true to your Cuban roots while also adapting to different cultural expectations in international art scenes?

Talia: Nothing grows in isolation. I don't see a conflict between embracing international perspectives and references and staying true to yourself. I choose not to reduce my identity to my cultural background. I never needed to label my creative work. This pressure always came from third parties responding to my work.

Joshua: Have the logistical challenges of working internationally—such as shipping artwork, managing exhibition schedules, and adapting to different galleries—shaped your approach to creating art?

Talia: I lack storage space for artworks. Unaffordable studio space and production costs. Frequent international travel. All these made me reconsider my installation and sculpture work. Gone digital, benefiting from affordable/open-source resources and tools. I declared on my CV that I am based in London and online to reflect my availability for long-distance collaboration. Shift to performance and video art in recent years. Specially challenging was the transportation of the artworks in the Self-preservation series. From Japan to the UK, dealing with how fragile the artworks are and the language barrier.

What I learned is to remain flexible in terms of the outcome of my work. Make the most out of the resources available. Reconsider new combinations of resources (adopt an entrepreneur mentality) that I would have ignored if I had more to work with. My work became more sustainable. I document ideas that are not suitable in the present moment, for future production. I gained clarification on what I want my projects to look like. This translates into more possibilities of securing funding and opportunities to make ambitious projects happen.

Joshua: What have you learned about your artistic practice by seeing how your work is perceived by different audiences around the world?

Talia: I learned that I am ambitious and brave to put myself out of my comfort zone and take creative risks.

Joshua: As an artist with international experience, how do you navigate the complexity of representing your identity in a global art market?

Talia: I focus on finding a niche for my art, through independent/smaller organisations supporting that niche. For example, as a recent member of the British Art Network, I have found like-minded individuals at the Working-Class Research Group.

I reach out to transdisciplinary, global, and potential collaborators with links to the London arts scene. I leverage my network to facilitate introductions and collaborations.

Joshua: What are some key struggles you’ve faced as a Cuban woman artist, and how have these challenges contributed to your growth as an artist?

Talia: Biases and assumptions about my identity. Society’s expectations reduce Latino women to the role of housekeeper and mother, and punish women who don't choose this path despite their success and accomplishments in other areas, including professional achievements.

Being perceived as too emotional and family-oriented. Difficulty finding part-time employment that would allow me to continue pursuing my art career. Employers won't accommodate my needs and requests for flexible working.

My artwork “Cleaning Service” sheds light on this.

Joshua: Have you encountered moments of culture shock during your travels or exhibitions? How did those experiences influence your creative work?

Talia: Difficulties adapting and understanding British neutrality. (cultural differences)—My work A Game of Pretend explores this.

Joshua: How do you think the experience of living in the UK has enhanced or changed the themes you explore in your art?

Talia: Refer to questions 2 and 6.
Joshua: You’ve worked in countries with very different cultural and political landscapes. How have these diverse contexts influenced your message or the narrative in your work?

Talia: Censorship in Cuba. UK/European freedom to explore themes, distance, time and resources to process and reframe my experiences.

Joshua: How has the process of exhibiting internationally shaped your views on collaboration with other artists, curators, or institutions?

Talia: I found that through collaborative and team work I can access different people's expertise, combine resources, and reach creative goals faster and more efficiently. I used to believe that collaboration would limit my creative voice instead of enhancing it.

Collaborators:
In Place of War:
Ruth Daniel, CEO and Artistic Director

ROZENN LOGAN, Senior Producer
Project iThemba:
Patrick Miller, Playwright, Creative Director

Eiman Munro, published children’s writer.

The Secret To Podcasting:
Emma Bartholomew, Host & Co-Producer
Lewisham Arthouse London:
DIPACT CIC:
Mahboobeh Rajabi, Digital Artist, Dancer, Creative & Cultural Producer

Joshua: What impact, if any, has your time in Japan had on your artistic style or philosophy, given Japan’s unique aesthetic and cultural influences?

Talia: I was based between Kyoto and Osaka, and the contemporary arts scene was tiny (compared with the traditional and decorative sector). With the support of Yamanaka Suplex Studio and Kyoto City University of Arts, I was able to get to know people quickly, build sustainable networks, and learn from everyone, overcoming cultural and language barriers in record time.

When I was working on Self-preservation, the outcome was unclear since I had never worked with the urushi lacquering material. I adopted a “trust in the process” philosophy and cultural awareness that stayed with me after I left Japan.

Joshua: What do you believe is the most important lesson you’ve learned about yourself and your art through your travels and exhibitions?

Talia: I learned to believe in my own capacity to bring sustainable change to my life and community through my art. Embrace challenges and discomfort as learning opportunities. Be constant and persistent. Reach out to other people as equals.

Joshua: Looking forward, do you think your experiences living and exhibiting in different countries will continue to play a central role in your art, or do you see yourself exploring new themes based on your evolving identity as a global artist?

Talia: This is nice to discuss. I would say that since I am Talia, I will answer for Talia. Talía’s future collaborators include the festival Deptford X; upcoming workshops and artist presentations as part of the Lewisham Arthouse Award 2025, for which she has been shortlisted; and national activities within the British Art Network’s working-class research group. Talía also maintains networks with organisations in Manchester, including EarthSonic, which commissioned her artwork exploring the impact of the climate crisis on women in the Global South, slated for exhibition in London in summer 2025. She plans a collaboration with the podcast Incubator ZW, a creative hub that works with marginalised communities in Zimbabwe.

Joshua Omeke is a multifaceted artist with skills in literature, visual arts and music. He has been nominated for several awards and is the founder of Alkebulan Art UK. Which focuses on promoting African and Caribbean arts.