There’s a close relationship between drawing and writing, and it follows that drawing on a small scale has echoes of the diary entry, something designed for an audience of one. There’s something of the diary about Nicola Frimpong’s work, not just in its frank exploration of the darker reaches of the human psyche, but in its combination of informality and intensity. In Frimpong’s Untitled (White Slaves), a kind of historical revisionist fantasy is played out in a theatre (a hint at the heightened nature of Frimpong’s narrative).

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