“Rayvenn Shaleigha D’Clark”
BIOGRAPHY
b.1995, London, UK
Black British-Caribbean Artist
UK-based Digital Sculptor, Writer and Researcher
Rayvenn Shaleigha D’Clark, MA, FHEA, MRSS, is a London-based digital sculptor.
Her work responds to the underrepresentation of communities of colour in monuments and public sculpture, and centres overlooked and anonymous figures in the public realm. Her practice explores the complexities of race, representation, and digital hybridity within contemporary art. Hhe combines advanced digital technologies with traditional sculptural techniques, creating nuanced representations of anatomy and identity across both speculative and historical contexts.
As founder of Sculptural Drawings Ltd., she has secured over £2 million for public art projects across the UK and the US. Her recent accolades include being named in Forbes 30 Under 30 (2024) (Art and Culture), and receiving a joint award with Maybrey Precision Casting from the Casting Metals Federation (2024) for the most technically challenging casting component.
In 2024, Rayvenn unveiled her largest project to date – three bronze sculptures titled ‘Black Renaissance’ - at Freedom Monument Sculpture Park. Commissioned by Equal Justice Initiative (EJI), the project was discussed in global news outlets including The Independent, Bloomberg, Harper's Bazaar, CBS, The New Yorker and Rolling Stone.
In October 2025, Rayvenn launched Mother Vérité, a landmark UK public artwork and the first statue to honour postpartum experience in a city where only 4% of sculptures depict women. Commissioned by Frida Mom UK, the project received widespread international media coverage, including British Vogue, CNN, Hypebae, Harper’s Bazaar, The Standard, Stylist, and The Guilty Feminist.
In August 2026, Rayvenn launched a major public artwork in Croydon, South London titled 'Voices of Croydon: Echoes of Passage '. The project gathers stories from the borough's residents to investigate how migration, memory, and materiality intersect in public space, using participatory approaches to foster belonging and intergenerational dialogue.
In early 2026, Rayvenn won the International Slavery Museum’s Artist Call Out to lead the artistic direction and development of iron panels for their new Entrance Pavilion. Selected from over 150 applicants, the panels will form the visible ‘skin’ of the pavilion, transforming iron - once used in chains and manacles and deeply embedded in the infrastructure of transatlantic slavery - into a material of remembrance and resilience.
“IN THE SCULPTURE OF RAYVENN D’CLARK,
THE BLACK BODY IS LAID IN TRACTION; UNENCUMBERED...”
T e s t i m o n y
Myself and the rest of the Heritage Center team have never seen work like this before.
I personally have watched the intro video to your website dozens of times trying to understand how your pieces are printed.
I’m blown away each time. You have amazing pieces that are concentrated on the Black Body Politić.
“I Don’t See Color” (2018) is a beautiful piece that appears to be a simplistic piece but actually shows a Black Woman in a headwrap.
The name could be interpreted in a variety of ways but the way in which I do is that although a Black woman, she’s a human being at the core, just like the other 7 billion people in the world, emphasizing her humanity. She breathes, exists, and thrives.
The texture and hyperrealism in the “My Head Hurts, My Feet Stink, And I Don’t Love Jesus” piece is mind-boggling! The title alone is a huge conversational piece, even more so with the piece itself. We can see what appears to be a light scar on the upper ankle, slight skin pigmentation from what could be bruising from an overworked person.
