In the heart of Bristol, a city steeped in history, a new exhibition is challenging the way we perceive historical artefacts. Titled "Those that do not smile will kill me: Decolonising Jamaican Flora," the exhibition is the brainchild of artist Jessica Ashman, who has been meticulously working with the collections of Bristol Museum & Art Gallery. Her work is not just an artistic display; it is a profound exploration of the stories and histories that have been long ignored or overlooked.

The Inspiration Behind the Exhibition

Jessica Ashman's journey began with a deep dive into the archives and specimens held by Bristol Museum & Art Gallery. Her focus was on the collections of two 18th-century biologists, Arthur Broughton and Priest John Lindsay, whose work in Jamaica laid the foundation for much of the botanical knowledge we have today. However, Ashman's research uncovered a darker side to these collections—a side that is often omitted from historical narratives.

Arthur Broughton, a Bristol native, gathered specimens in Jamaica in the late 1700s. His herbarium is a valuable resource for studying the botany of the island. Similarly, Priest John Lindsay, who settled in Jamaica in 1758, produced an illustrated manuscript depicting the local flora and fauna. Both men relied heavily on the knowledge of Africans enslaved on the island to assist them in their work. This reliance on enslaved labor is a critical aspect of their work that has often been overshadowed by their scientific achievements.

The Art Installation

Ashman's installation is a powerful response to these historical narratives. Titled "Those that do not smile will kill me: Decolonising Jamaican Flora," the exhibition aims to address the ignored histories and stories attached to these artefacts. "It's about addressing these ignored histories, or stories which are attached to how an object was collected or who it originally belonged to," Ashman explains. "When you collect these objects from these institutions or acquire these objects somehow, they're ripped away from their true meaning."

The installation features a series of artworks that challenge the viewer's perception of the artefacts. Through a combination of visual art, multimedia, and interactive elements, Ashman invites the audience to reconsider the context in which these objects were collected and the people whose lives were impacted by this process. The exhibition includes pieces like "Afiba," "Datura," "Juba," and "The Rhizosphere," each offering a unique perspective on the complex relationship between science, colonialism, and cultural heritage.

The Broader Context

The exhibition is part of a larger movement to decolonize museums and cultural institutions. This movement seeks to acknowledge and address the colonial past that has shaped many of these collections. By bringing these hidden histories to light, Ashman hopes to foster a more inclusive and honest understanding of our shared past.

"In the context of my research, it was more 'OK, these were men, on an island subjected to slavery,' and they were profiting from that time," Ashman says. "These drawings, these dried flowers are a product of that time. So, whatever else was happening, it wasn't as innocent as 'oh, I really like botany.'"

The Impact and Future

The exhibition has already sparked important conversations among visitors and the local community. It challenges the traditional narrative of scientific discovery and encourages a more nuanced understanding of history. By highlighting the contributions of enslaved Africans and the ethical complexities of colonial-era science, Ashman's work offers a fresh perspective on familiar artefacts.

The exhibition will be on display at Bristol Museum & Art Gallery until 27 July, providing visitors with a unique opportunity to engage with history in a new and thought-provoking way. Ashman hopes that her work will inspire other institutions to undertake similar projects, fostering a broader movement towards decolonization and inclusivity in the cultural sector.

Jessica Ashman's "Those that do not smile will kill me: Decolonising Jamaican Flora" is more than just an art exhibition; it is a call to action. It invites us to confront the uncomfortable truths of our past and to acknowledge the stories that have been silenced for too long. Through her work, Ashman challenges us to see historical artefacts not just as objects of scientific interest, but as symbols of a complex and often painful history. As we walk through the exhibition, we are reminded that the journey towards understanding and reconciliation is ongoing, and that every artefact has a story worth telling.