ABSTRACT
This essay takes a case-study approach to examine how culture may be transferred from immigrant cultures to a so-called host culture. Considering the work of three visual artists who came to the UK as refugees but who are now considered ‘British artists’, it examines the effect this curatorial definition may have on gallery viewers. The author proposes that looking at work that previously might have been viewed as ‘exotic’ or ‘foreign’ but that is now classed as British forces viewers to reassess and renegotiate their understanding of the nature of ‘Britishness’ and indeed of place-Britain. Drawing on the ideas of Edouard Glissant and also of contemporary geographers about the nature of place, the study proposes that place-Britain, like all places, is in a constant and never ending state of production. The work of artists from refugee populations, shown now as ‘British art’, becomes a dynamic part of this process and a means by which new elements are transferred and added to an ever-changing British cultural fabric
