A platform for diversity and artisanal heritage - Interview with Jo Sealy of The Black Artisans

At a time when mass production dominates the market, a growing number of consumers are turning to handcrafted goods, seeking authenticity and meaning. Each handcrafted piece tells a story, imbued with the skill and passion of its creator.

But beyond aesthetics, this enthusiasm reflects a deeper desire: to value the sustainability, heritage, and human connection hidden behind each object. From interior design to handmade jewelry, the demand for unique creations continues to grow, while DIY and craft workshops are encouraging more and more enthusiasts to rediscover traditional artisanal techniques.

At the heart of this revival, Black artisans are perpetuating and reinventing ancestral African, Caribbean, and African American skills —from kente weaving and beaded jewelry to wood carving and fine ceramics. Their works embody resilience, heritage, and cultural identity . Yet, despite their talent, many still struggle to gain a foothold in mainstream creative industries, facing challenges related to visibility and access to opportunities.

It was to address this challenge that The Black Artisans was launched in London in 2021, the brainchild of photographer and marketing consultant Jo Sealy. What began as a photography exhibition has evolved into a national platform, providing a space for recognition and empowerment for Black artisans . By combining storytelling and activism, the project highlights their skills while also addressing the lack of diversity in the craft sector.

In this interview, Jo reveals the inspiration behind The Black Artisans , the importance of preserving heritage crafts, and the concrete actions put in place to open up new opportunities for Black creators, in the UK and beyond.

1. What are the inspirations behind this project?

On a daily basis, I work as a marketing consultant for creative professionals, and very quickly, I felt the need to showcase the incredible Black artisans I regularly meet through my work. In parallel, my photography practice, whether through my own projects or commissions, inspired me to undertake this project, which seemed essential to me.

I noticed that Black artisans lacked visibility in traditional channels . Their expertise, creative process, and the beauty of their work deserved to be better known. My goal was to introduce them to a wider audience—amateurs, enthusiasts, or students—so they could be inspired by their experiences and envision themselves in these crafts, without feeling that this world was inaccessible to them.

Thanks to my network and the contacts I've built up over time, I was able to assemble an initial selection of artisans relatively easily. For others, they were artists I admired, whom I contacted through their websites or social media. Once I explained the project's vision and its importance, many enthusiastically agreed to participate.

The first 26 photographs were taken in early 2021 and the inaugural exhibition took place in September of the same year at the Wm Morris Gallery in East London.

2. How do you select the artisans featured in the exhibition? Are there any stories or crafts that particularly resonated with you?

Initially, the artisans I chose were either people I knew personally or artisans I admired and whom I contacted directly to propose their participation in the project. My main selection criterion was that these artisans be fully established, deriving their income exclusively from their practice, whether through making, teaching, or using their craft skills professionally.

However, as the project evolved, I had the opportunity to meet talented young artisans at the beginning of their careers, whom I also included in this expanding collection . It is incredibly rewarding to witness their journey and see them become part of this world.

I made a point of including well-established artisans, recognized in their respective fields, who have been practicing for many years. For example, Chris Bramble, a ceramicist and graduate of the Glasgow School of Art, whose work is deeply influenced by European sculpture and African craftsmanship. He has successfully transformed his practice into a full-fledged career, with galleries representing him and a school where he trains new artists in ceramic techniques.

Another craftswoman who particularly impressed me is Marcia Bennett-Male , one of the few Black female masons in the UK . Her work, often focused on kitchen-related projects, is fascinating, but it's the historical significance of her public commissions that truly struck me. She worked on iconic historical sites across the UK, leaving her mark on the country's architectural heritage.

3. The project showcases a variety of artisanal skills, ranging from the making of "steel pans," Caribbean percussion instruments, to the art of the calabash. What motivated this choice of such a diverse range of disciplines?

It was essential for me that this project reflect the diversity of the world around me and the diversity I know to be present, even if it is often invisible. This choice is also influenced by my own background and my roots, deeply embedded in African and Caribbean craft traditions.

Many of these skills are not only underrepresented , they are also largely undervalued, sometimes even by the artisans themselves. By including them in this project, I wanted to offer them the recognition they deserve and contribute to their appreciation. Furthermore, it is essential that the mainstream British craft community becomes aware of these cultural practices and values ​​them appropriately. A better understanding of these non-Eurocentric crafts broadens the perception of craft heritage and allows us to fully celebrate the richness and diversity of Black British creators.

4. Since the launch of this project and during your discussions with the artisans, what are the main challenges they are facing today?

During my conversations with these artisans, several major challenges emerged. One of the main obstacles is the lack of access to information and resources that could help them develop their business , whether in terms of skills development or business management.

Many also express a feeling of exclusion from certain artisan communities, or lack access to the right networks to learn about existing opportunities. Added to this are the challenges common to many small businesses: generating sales, understanding their market, and knowing how to reach it effectively.

Although some artisan organizations and networks strive to promote greater diversity, they often remain limited by traditional approaches or constraints related to the funding they receive.

It is within this context that The Black Artisans has organically evolved, becoming a true sharing platform . Through this network, I have been able to highlight exciting initiatives and disseminate opportunities from the traditional sector, thus enabling more Black artisans to access and benefit from them. My goal is for this project to help open doors, increase the visibility of Black creators , and encourage broader recognition of their talents.

5. As The Black Artisans continues to grow, what are your plans for the future? Are there any new elements you would like to introduce?

There are so many things I would like to accomplish! First, I want to create new portraits to reach a total of 50 artisans representative of the community (we are currently at 36). I am particularly looking for a blacksmith, a watchmaker/repairer, as well as artisans practicing cultural crafts such as basketry, quilting, or beadwork.

In parallel, I am working on an exhibition schedule for 2025/26 and am in discussions with several venues across the UK – including Cornwall, Scotland, Wales and Ireland – to integrate the exhibition and accompanying educational workshops into their future programmes.

Finally, I hope to launch a book about the project in spring 2026, which will feature all the artisans, sharing their journeys and experiences. I hope it will become a useful resource for those seeking to appreciate the beautiful works created by the artisans and to explore new ways to engage with their creativity.

6. What would you say to all those inspired by the exhibition who wish to further explore heritage crafts?

I would advise them to start by exploring the workshops and courses available related to their interests. There are numerous associations, guilds, and networks dedicated to almost every type of craft; simply search online to discover the training programs offered, as well as the grants and funding available. If a particular craftsperson inspires them, they shouldn't hesitate to contact them to ask about a professional experience or an internship. It's an excellent way to learn directly from an expert and immerse themselves in the creative process.