“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, writer-researcher, and curator whose work has gained international recognition with her works exhibited alongside renowned artists such as Tracey Emin, Ai Wei Wei, Joseph Beuys, and Banksy.
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. She combines advanced digital technologies with traditional sculptural techniques to produce nuanced representations of anatomy and identity across both speculative and historical contexts.
A frequent public speaker and media commentator, Rayvenn has contributed to platforms including CBS, Apollo Magazine, Harper’s Bazaar, Marie Claire UK, Rolling Stone, The Guardian, and Bloomberg, where she advocates for equity in the arts and investment in emerging creative talent.
Her recent accolades include being named in Forbes 30 Under 30 (2024) and receiving a joint award with Maybrey Precision Casting from the Casting Metals Federation (2024) for the most technically challenging casting component.
In 2024, D’Clark unveiled her largest project to date, Black Renaissance, at the Equal Justice Initiative’s Freedom Monument Sculpture Park in Alabama. The commission was notable for both its scale and the fact that it was awarded to an early-career Black female artist under the age of 30.
In October 2025, she launched Mother Vérité, a landmark UK public artwork and the first statue to honour motherhood and postpartum experience in a city where only 4% of sculptures depict women. Commissioned by Frida Mom UK and supported by research led by Marine Tanguy (Founder and CEO of MTArt Agency), the project received widespread international media coverage, including British Vogue, CNN, Hypebae, Harper’s Bazaar, The Standard, Stylist, and The Guilty Feminist.
D’Clark has also been commissioned to create a major public artwork in Croydon, South London, scheduled for 2026. The project explores the borough’s histories of migration and cultural transformation, gathering stories of journeys to Croydon and evolving notions of ‘home'. Through this work, she continues to investigate how migration, memory, and materiality intersect in public space, using participatory approaches to foster belonging and intergenerational dialogue.
In 2026, she was awarded the museum open call contract to lead the artistic direction and development of iron panels for the new Entrance Pavilion at the International Slavery Museum. Selected from over 150 applicants, she will collaborate with architects, structural engineers, fabricators, and community partners to co-produce the design. 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.
