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Kill The Indian, Save the Man is a visual essay by two different artists, showing two views of one historical period. 


Kill The Indian, Save The Man – A Visual Essay
— Ester Svensson + Serena Katt
3rd – 5th November 2017

Kill The Indian, Save the Man is a visual essay by two different artists, showing two views of one historical period. Both artists reflect on the dramatic changes that were enforced on Native Americans and their traditional way of life between 1900 and 1960. Serena Katt examines this history in a limited edition book of pencil drawings based on found archive photographs, looking particularly at the fate of Native American children sent to boarding schools. Ester Svensson will show an installation of ceramics that looks to reconnect with the origins of Native American culture.

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Ester Svensson
The Swedish ceramicist was born in Pakistan, and grew up in both countries. The diverse landscapes and cultures she has lived in or passed through on various journeys influence much of her practice. The german word Zugunruhe, (from Zug - to move, migrate and Unruhe - anxiety, restlessness) sums up the ideas behind her work. It is generally used to describe the restlessness of migratory birds before and during their period of migration, but the same phenomenon can be seen in resident birds and animals. Humans also experience feelings of restlessness and yearning for movement and freedom, or are forced into migration. She takes inspiration from myths, legends and folk art to create small-scale sculptures and installations.

Serena Katt
Serena is an German/English illustrator. She explores how illustration can be used as an active tool for understanding, interpreting and re-evaluating dominant narratives and discourse about historical events. How can illustration add to our understanding of history? How can it challenge it? How can it provide alternative viewpoints to the mainstream? Serena is interested in exploring and highlighting the ways in which history is recorded, suppressed, remembered and distorted. Working closely both with archive photography and personal testimony, she creates narrative sequences and visual essays that explore her own relationship to history.

Photography by Playground London and Joe Plom