Sabrina Tirvengadum:
Who Were They? Who Am I?
அவர்கள் யார்? நான் யார்?
7 February – 6 April 2025, Gallery 2
360 Camera of Exhibition
Exhibition Overview
In Who Were They? Who Am I? artist Sabrina Tirvengadum takes a personal journey into identity, ancestry and the hidden histories that shape who we are. Inspired by their father’s life and family stories passed down through generations, this exhibition connects personal narratives with the larger history of Indian indentured labour in Mauritius. At its heart, it asks a universal question: How much of who we are comes from who they were?
Using archival photographs, AI-generated imagery, digital art and film. Sabrina blends personal and collective memories to reimagine moments that were lost, hidden or never existed. This approach shows the nature of how memory works, mixing truth, interpretation and imagination.
A key part of this journey is the artist’s DNA link to the Marrier d’Unienville family: wealthy plantation owners who employed their great-grandmother as a maid. This discovery led to a deep exploration of privilege, labour, and lineage, which are central to the artwork “If We Were Marrier d’Unienville.” Through imagining alternative histories, this work invites us to think about the complex connections between ancestry, power and resilience.
Another highlight is the short film “A Souvenir to Keep,” made from rediscovered family footage of the artist’s first visit to Mauritius in 1993. The film captures the emotional experience of connecting with ancestral land and reflects the shared journeys of many people in diaspora communities, where longing and belonging intertwine.
Who Were They? Who Am I? is more than a question. It invites us to explore how history, family, and storytelling shape identity. By reimagining the stories of the past, Sabrina honours those who came before and asks us to reflect on our own connections to history and heritage.
Upcoming Events
Join artist Sabrina Tirvengadum & Professor Clare Anderson as they discuss the Gallery 2 exhibition ‘Who Were They? Who Am I?’
This event is a collaboration between the Leicester Institute for Advanced Studies (LIAS) and Attenborough Arts Centre. LIAS nurtures and supports interdisciplinary research across the university, spanning a range of themes and approaches that includes creative practice. Sabrina Tirvengadum will join in conversation with Clare Anderson, Director of LIAS, and Esme Cleall, Senior Lecturer in the History of the British Empire at the University of Sheffield.
Clare’s research focuses on histories and legacies of empire. Her interest in the history of Mauritius includes research on enslavement and indentured labour. Since 2023, Clare has been a member of the Scientific Advisory Committee of the country’s Intercontinental Slavery Museum.
Esme’s work focuses on the representation and lived experience of disability in the British Empire. Her book, Colonising Disability, explores disability in relation to education, philanthropy, activism and immigration policy. Her current project is on the Politics of Breathing in nineteenth and twentieth-century Britain and its empire, thinking about pollution, disability and ideas about ‘good health’.
Tuesday 11 March 2025, 6:30pm – 7:30pm
Free with booking required
Click here to book your place
About the artist
My work explores identity, ancestry, and the untold histories that shape both personal and collective narratives. By reimagining fragments of the past, I aim to create a dialogue between history, memory, and imagination. My practice merges family photographs with creative reinterpretation, blurring the boundaries between what is real, what is remembered, and what is imagined. By layering archival photographs, digital painting, and collage with imagery generated using MidJourney – an artificial intelligence (AI) platform that creates images from text descriptions – I bring hidden histories to life.
In 2022, I began experimenting with generative AI tools and quickly noticed a lack of accurate representation, particularly in cultural details. For example, typing “Indian” often produced images of indigenous Americans rather than South Asians. While researching my family archives, I decided to incorporate personal photographs into my work with AI to create visuals that better reflected my heritage. By combining archival photographs, AI, and digital painting, I developed a process to address these gaps. Early AI tools often produced technical errors, such as generating hands with too many fingers, which I manually refined and repainted. This integration of AI has become a meaningful part of my creative process, enabling me to reimagine and reinterpret fragments of the past.
AI tools provide significant benefits for accessibility, offering alternatives for people who find traditional art forms physically demanding or verbal communication challenging. Through text prompts, users can express their creativity and emotions visually using words, phrases, or emojis, without physical strain. Just as my hearing aid supports me in conversations, AI tools enable people to transform their ideas into powerful visual narratives.
I hold a degree in Photographic Arts and worked as a graphic designer for more than 15 years. Before the pandemic, I began exploring my personal experiences with an unseen disability. During the pandemic, I began to collaborate with the disabled creative community on disability-led campaigns. As the founder of We’re All Human, an art and design collective, I use accessible art and graphic design to promote inclusivity in digital spaces and challenge ableist systems.
I am part of the Visualising Disability: Artist Development Programme at Autograph and will complete a residency with Light Work in New York later this year. This autumn, I will feature in a major group exhibition at Autograph Gallery, titled I Still Dream of Lost Vocabularies, which reimagines contested narratives through the concept of collage.
2023 – 2024: Afternoon Chai, Billboard, SPACE Gallery, Ilford, London, 2024: Interwoven, BLOC Gallery, Queen Mary University of London, 2023: If we were Marrier d’Unienville, Runner up, Visible Artist Award, House of St Barnabas and Audible Head office, 2023: Lafami (Mauritius), NAE OPEN 2023, New Art Exchange, 2023: My Fiancé – After he proposed, Shortlisted, Small File Photo Festival, The Photographers’ Gallery, 2023: If we were Marrier d’Unienville, New Year Exhibition, The Print House Gallery, 2021: RyeHereRyeNow Poster Exhibition with London Design Festival
Indentured Labour
The use of indentured labour had a lasting impact on Mauritius. Many of the Indian workers remained in the country after their contracts ended, and they formed a significant part of the population. Over time, their culture, religion, and traditions blended with those of other ethnic groups on the island, creating a unique multicultural society. However, the system of indentured labour also left a legacy of exploitation, as the workers often faced poor living conditions, long working hours, and limited rights.
Origins and Duration: The system of indentured servitude became prominent after the abolition of slavery in the British Empire in 1833. It continued until the early 20th century, with the majority of workers bound by contracts of 5 to 10 years.
Movement of Workers: Between 1834 and 1917, approximately 1.2 million people were transported from British India to various colonies across the world as indentured labourers. The largest numbers were sent to the Caribbean, Fiji, Mauritius, and South Africa.
Mauritius: Between 1834 and 1910 more than 450,000 people were brought to Mauritius from India under the indenture system. By 1901, Indians made up around 60% of the population of Mauritius, a demographic shift that significantly shaped the island’s social and economic landscape.
Conditions of Work: Indentured servants often faced harsh and exploitative working conditions. They worked long hours on plantations or in mines, lived in poor housing, and were frequently subjected to abuse by their employers.
End of Indenture: The system of indentured servitude gradually ended by the early 20th century. In British colonies like Mauritius, the last indentured workers arrived in 1910, and the system was officially abolished by 1920.
Legacy: Many indentured workers chose to stay in their adopted countries after completing their contracts. This contributed to significant demographic changes, especially in places like Mauritius, Fiji, and the Caribbean, where Indian communities form a large part of the population today.
Accessibility
- Our friendly team of volunteers and gallery invigilators can tell you more about the artworks and artists.
- Sound and light levels can be adjusted.
- Seating is available in all gallery spaces.
- Gallery interpretation is produced in large print as standard.
- A braille guide for the exhibition is also available from the gallery desk.
- Film and video artworks are subtitled, or where this is not possible a transcript will be available.
- Ear defenders are available from the gallery desk.
A full guide to accessibility and facilities information across our spaces can be found here.
If you require an adjustment that isn’t mentioned please contact us ahead of your visit and we will try to meet your request within our capacity.
Exhibition Artwork
Archival images, collage, digital painting and generative AI, In collaboration with Mark Allred.
Image Description
This family portrait is set in a modern, pastel-coloured courtyard with a simple, staged atmosphere.
In the centre, a man wearing a light blue suit stands tall, his expression serious and dignified.
On either side of him, two women in colourful dresses create balance in the composition.
One wears a floral print, while the other is dressed in blue, coral and yellow.
They are positioned on different levels of the terracotta-tiled floor, adding depth to the scene.
The sharp lines and angles of the building contrast with the surrounding greenery.
In the background, tropical plants like palm trees and a bright garden are visible, while a staircase and a large window offer glimpses of the lush outdoor setting.
The warm peach and cool blue tones of the walls and sky create a dreamy quality, blending real and surreal elements in this peaceful yet structured composition.
Archival images, Digital collage and generative AI.
Image Description
This portrait features a young Mauritian man standing against a golden-hued backdrop with a sugarcane field behind him, evoking the landscapes tied to the histories of indentured labour.
His neatly styled black curly hair and warm brown skin are illuminated by soft lighting, which highlights the contours of his face and his calm, steady gaze.
He wears a crisp white shirt, its subtle folds adding texture.
The composition recalls archival photographs of indentured workers, often staged but deeply significant, preserving stories of resilience and identity.
Archival images, collage, digital painting and generative AI, 50 x 50 cm. In collaboration with Mark Allred.
Image Description
This vintage-style family portrait depicts six members standing formally in front of an open teal door and painted tropical backdrop of palm trees.
The group includes three adults and three children, arranged against a pastel background of peach and teal tones.
On the left, a woman in a beige dress stands next to two young girls in light dresses, with a smaller child positioned between them.
On the right, two men in formal suits, one dark brown and the other light grey blue, stand tall, each wearing ties.
The family members, with calm and serious expressions, look directly at the camera, reflecting the formal nature of the photograph.
The painted background blends real and staged elements, while the pastel tones and vintage styling evoke a nostalgic and dreamlike atmosphere.
The portrait captures a moment of pride, strength, and family connection within a timeless tropical setting.
Archival images, collage, digital painting and generative AI, 35 x 35 cm. In collaboration with Mark Allred.
Image Description
Three young women stand side by side in a vintage-style portrait, exuding calm and composure.
They are framed by a painted tropical backdrop featuring lush green palm trees, blending into the surrounding potted plants and greenery.
The central figure wears a red floral dress, while the two others are dressed in white, their outfits complemented by white tights and differently coloured shoes.
The setting includes red tiled flooring and brutalist architecture, which contrasts with the tropical theme.
The image, with its rounded corners and soft, slightly faded tones, evokes a sense of nostalgia, as though taken decades ago in a formal, staged environment.
Archival images, Digital collage and generative AI.
Image Description
This portrait features a woman seated gracefully, dressed in a deep maroon sari over a cream blouse, adorned with a dark bindi and South Asian gold jewellery.
Her calm, steady gaze meets the viewer, exuding quiet strength.
Beside her, a black bird with yellow plumage and an orange beak symbolises rebirth and the legacy of Mauritius’ Phoenix sugar estate.
The dark teal background, with hints of leafy textures, creates a natural and reflective atmosphere, connecting the woman and the bird to themes of tradition, identity, and harmony with nature.
Archival images, collage, digital painting and generative AI, 35 x 35 cm. In collaboration with Mark Allred.
Image Description
This scene resembles a blend of a 3D model and a maquette.
At its centre, a young man wearing a cream-coloured shirt and trousers stands thoughtfully, gazing off to the side.
He is framed by what appears to be a wooden or cardboard structure, giving the composition a stage-like appearance.
In the background, sepia-toned illustrations depict a traditional countryside.
On the left, there are sugarcane fields, while on the right stands a village-style home with small, sketched figures near its entrance, evoking a historical atmosphere.
In the bottom corners of the scene, paper cut-outs of people are placed, including one striking a martial arts pose, adding layers of narrative detail.
The warm tones of cream, sepia, and brown, combined with the red floor, create a vintage and historical mood.
The red flooring symbolises the wax-polished floors traditionally found in Mauritian homes, linking the man to the cultural and colonial history of labour and plantation life.
The image feels like a reflection on the past, grounding the present in historical memory.
Archival images, collage, digital painting and generative AI, 50 x 50 cm. In collaboration with Mark Allred.
Image Description
This artwork depicts a man with a 1970s appearance standing in a small, enclosed space resembling a phone booth.
He holds a black telephone to his ear, looking directly at the viewer with a calm yet intense expression.
His thick, curly hair and vintage attire, including a deep green coat over a maroon high-neck sweater, enhance the nostalgic feel of the scene.
The warm colour palette of pinks, reds, and browns adds to the cosy yet slightly serious atmosphere.
Behind him, a mirror reflects the back of his head, creating a sense of depth and subtle mystery.
On the wall, a sign reads “LV” (Luncheon Vouchers), further grounding the image in its era.
The overall composition captures a quiet, reflective moment suspended in time.
Archival images and generative AI, 80 x 80 cm. In collaboration with Mark Allred.
Image Description
This portrait features myself seated gracefully against a soft pastel backdrop that fades from muted blues to peach hues.
My expression is calm and introspective and I’m looking towards the viewer, conveying a quiet strength that speaks to resilience and untold stories.
My dark, neatly styled hair is tied up with a few flyaway strains. I’m wearing a cream blouse with a white shawl draped elegantly over my shoulder, and a flowing pink skirt that pools softly around me.
My right hand rests lightly on a traditional broom made of natural fibres, its worn wooden handle hinting at everyday labour.
The lighting is diffuse and gentle, casting subtle shadows that enhance the contours of my face and body, while highlighting the textures of my clothing.
The overall composition is peaceful and intimate.
Archival images, collage, digital painting and generative AI, Approx 50 x 40 cm. In collaboration with Mark Allred.
Image Description
This artwork depicts three people in a serene, dreamlike setting featuring a curving staircase, abundant greenery, and a soft, milky blue sky.
On the left, a woman in a bright red patterned dress sits calmly, her hands resting on her lap.
In the centre, a man in a white shirt and brown trousers stands upright with a formal posture.
On the right, a woman in an orange and cream floral dress stands close to the man, her expression peaceful and composed.
The background seamlessly blends indoor and outdoor elements.
The curved staircase is surrounded by columns draped in leafy vines, while tropical plants like large banana leaves add warmth and vitality to the scene.
The open sky above the staircase enhances the dreamy atmosphere, creating a sense of calm and connection to nature.
The staircase itself recalls the 14 steps of Aapravasi Ghat in Mauritius, symbolising the historic journey of the first group of 36 Indians who arrived there on 2 November 1834.