Uproot, new roots

Sadé Mica

In this new series of films, Sadé Mica poses in peaceful landscapes in the North of England. Their postures are mindful meditations, attempts to release themselves from the anxiety of body dysmorphia.

Immsersing themselves in nature, Mica's work references the 19th-century Romantic tradition of connecting with the countryside and the power of nature as a relief from urban life. While traditional Western landscape painting often depicts peasants working on the land, or aristocrats declaring ownership of it, Mica rejects these nostaligc and colonial relationships. Mirroring the contours of the landscape with their body and hoping to become one with the natural world, Mica's performance questions which bodies belong where.

Image: At the end of the day (Jus pull up in that last lay-by), Sadé Mica, 2019

About the contributor(s)

Sadé Mica is based in Manchester, UK. Their current practice explores their experiences navigating the world as a "fat, queer, black person" and the nuances that brings in fleshing out an identity that, in their experience, is often met with contempt and confusion. They use photography, textiles, print and film alongside other mediums to document their body and emotions, and the facets of their identity they feel are most pressing in regards to their worldview.