British-Nigerian, Ros Martin’s craftivism sparks backlash, gets people talking

The striking red dresses recently adorning Fishponds Park and St. Mary’s Cemetery in Bristol, United Kingdom, ignited widespread conversation, with reactions ranging from admiration to criticism: ‘Powerful’, ‘haunting’, ‘unsettling.’

At the heart of the ‘Raising the Red’ exhibition is Ros Martin, a British-Nigerian artist and activist renowned for her thought-provoking work. With a career steeped in advocacy and storytelling, Martin’s latest project draws attention to the global epidemic of violence against women and girls.

The exhibition, part of the UN’s 16 Days of Activism Against Gender-Based Violence, ran until December 10, 2024, marking Human Rights Day. It featured 44 red dresses symbolizing women and girls lost to violence worldwide.

Crafted by a team of 14 local women contributors, Red Dress Crafters, the garments conveyed poignant messages like “She wasn’t asking for it,” “Her name was Sita,” and “This is not an invitation.” Each dress represented real stories of victims, such as Adaeze, featured in the Daughters of Igbo Woman film, and the still-missing Chibok girls of Nigeria.

Ros Martin’s craftivism has been heavily influenced by indigenous artist Jaime Black’s ReDress Project and U.K. MP Jess Phillips’ annual roll call of women killed by domestic violence in the UK. A BBC report highlights the alarming frequency of such tragedies, noting that at least 108 women in the UK were killed by men or in circumstances suspected to involve male violence in 2023 alone.

As a British-Nigerian and niece of Orlando Martins, a pioneering Nigerian actor in British cinema and stage, Martin seamlessly intertwines her heritage with her activism. Her portfolio includes impactful projects like Daughters of Igbo Woman (2017), which explored the resilience and stories of women from the Igbo diaspora, and Anyone Remember the Washhouse? (2023), a launderette gallery-based installation with older women that creatively engaged people of all ages with working-class histories. She regularly involves the public in pavement chalking on International Women’s Day and Human Rights Day.

The Raising the Red exhibition has sparked intense debate within Greater Fishponds News and Views. However, Martin, in an email conversation with our correspondent, countered this critique, stating: “Craftivism is activism. The escalating violence against women and girls is not just political—it’s a global human rights crisis.”

She stressed that the exhibition emerged from the collective efforts of Red Dress Crafters—local women, grandmothers, mothers, and aunties—who came together to give personal expression and visibility to the issue. “This ‘Red in our Midst’ represents the violence shrouding homes—the home that is not safe, the stalked victim, the family and partners purporting to love women yet hurting and harming them.”

A report by The Guardian further underscores the urgency of Martin’s message, revealing that at least 241 women were killed in the UK in 2023, with more than half of these cases involving a current or former partner.

Martin added, “That Raising the Red exhibited in Fishponds Park and St Mary’s churchyard is causing debate and discussion about the appropriateness of this messaging—for whom, how, the place, and timing—is no bad thing.”

She continued, “We wish the exhibits to move beyond the devastating statistical silent death of the women and girls that are so real and in our midst. We cannot bring those killed and missing back, nor imagine the devastation on the lives of those left behind, but maybe we can, through conversations, begin to unravel the complexities that produce this violence and hence play a role in safeguarding against it.”

Supporters argue that the project’s visibility fosters critical conversations about gender-based violence in local and global contexts. Martin emphasizes the personal and communal stakes: “This violence isn’t distant; it affects our neighbors, schools, and families. These exhibits honor those we’ve lost and urge us to take collective action to prevent future tragedies.” The exhibition has also drawn attention to the efforts of St. Mary’s Church of England Mothers’ Union’s Rise Up global campaign, which combats domestic abuse by raising awareness, offering resources, and fostering a culture of empathy and empowerment within communities.

To extend these conversations further, Martin undertook two radio interviews. One was a chat show where she encouraged listeners to call in and share their perspectives. She expressed hope that more men would actively engage in discussions with other men and boys, challenging harmful attitudes and advocating for change.

Visitors were encouraged to share their reflections in a comments book at Crafted by Props Café nearby, open Monday to Saturday. The exhibition concluded on December 11, following a Human Rights Day public chalk event in the Centre of Bristol from 2 p.m. to 3 p.m. Despite the controversy, Martin remains resolute in her mission, advocating for global solidarity and action: “We must unravel the complexities behind this violence and create safer futures for women and girls everywhere