The autumn art calendar in Paris is a high-octane spectacle, a time when the city is completely immersed in cultural activity across Paris Gallery Weekend, Paris Art Week, and Art Basel Paris. While the major fairs bustled with collectors and commerce, one exhibition offered a crucial moment of stillness and contemplation amid the flurry. This quietly commanding show was “Quiet Grounds: Tyburn Foundation Residencies 2025,“ a landmark inaugural group show presented by the newly established Tyburn Foundation. The exhibition’s very title speaks to its mission: offering artists the essential space and time away from the market pressures to explore ideas and deepen their practice.
Hosted in the elegant 18th-century setting of PIASA (118 rue du Faubourg Saint-Honoré), nestled in the city’s Golden Triangle, the exhibition brings together striking new works by four African artists: Primrose Panashe Chingandu, Driaan Claassen, Michele Mathison, and Mbali Tshabalala. These pieces are the direct result of residencies completed in Umbria, Italy, and Chitungwiza, Zimbabwe, during the spring and summer of 2025. The show is a testament to the Foundation’s unique, non-commercial approach to championing early and mid-career artists from the continent through tailored, long-term support. The works explore the idea of making “ground,” both geographical and psychological, as African artists expand their practices internationally.
Emma Menell, the collector, former gallerist, and Founding Director of Tyburn Foundation, is the visionary behind this endeavor, a career path that uniquely embodies the convergence of justice and cultural advocacy. Born in Johannesburg, Menell holds a D.Phil. in International Relations from Oxford University and is a qualified barrister who specialized in constitutional law at the Johannesburg Bar. Her experience as an editor of the South African Journal of Human Rights informs her intellectual and humanitarian commitment to providing a global platform for diverse, critical voices in art. She previously founded the renowned Tyburn Gallery in London (2015–2019) and was a founding director of Goodman Gallery London, experience that has now been channeled into this non-profit model of cultural patronage.
Africans Column had the opportunity to sit down with Menell to discuss her remarkable journey—from constitutional lawyer to Oxford-trained international relations scholar, to gallerist, and now to founding a non-profit organization rooted in long-term artistic support. She shared the critical ethos of her new foundation, detailing how the residency model works and how Quiet Grounds encapsulates the vision of crossing continents, disciplines, and creative horizons. As the Tyburn Foundation charts a new, sustainable path in cultural support, its inaugural exhibition in Paris invites us all to reflect on what it means for African artists to truly find and hold their ground in a global context. See below for the full interview.
— You were born in Johannesburg, trained as a barrister at Middle Temple, and earned a D.Phil. in International Relations at Oxford. How did your early legal and academic career in South Africa segue into founding Tyburn Gallery in London and ultimately the Tyburn Foundation championing African artists?
Emma Menell: I worked as a lawyer in Johannesburg at a very exciting time — the Constitution for a newly democratic South Africa had just been put into place, resulting in a wide-ranging exploration of how laws could be used to create a more equitable society with human rights at its core. Earlier, in academia, my thesis dealt with Russian and Soviet policy towards Africa. These interests in international politics and how societies are structured, intersect closely with many of the ideas explored by contemporary African artists and I think this lies at the core of my love for art.
— What were the key inflection points — personal, professional, or artistic — that made you shift from constitutional law and human-rights editing (for example, with the South African Journal of Human Rights) into the world of art?
Emma Menell: In some respects, geography played a role. My family moved to the UK where my South African legal experience was less relevant. I had long collected art and opened Tyburn Gallery wanting to offer an international platform to artists from Africa.
— When you founded Tyburn Gallery in London in 2015, you placed Africa at the centre of its programme. In hindsight, what were the most surprising challenges and the most rewarding moments of that early gallery work?
Emma Menell: The physical distance between the gallery and where the artists were working made it difficult to do regular studio visits. Also, the high costs of a gallery space in central London was a challenge. The most rewarding aspect was seeing artists we worked with go on to achieve international acclaim.
— From your experience during the gallery years (2015–2019), what were the particular pressures facing early- or mid-career African artists working within the commercial gallery environment? You’ve spoken about “market pressures” and the constraints of “time and space.”
The financial pressures which commercial galleries face make it difficult to provide early career artists the time and space they require to develop their practices optimally.
— What motivated the transition from the gallery model to founding the Tyburn Foundation? How did the idea evolve — and what did you want to do differently?
Emma Menell: A confluence of structural, economic, and cultural shifts have been reshaping the art world at present. These changes have highlighted the fragility of traditional gallery models and heightened the challenges facing smaller galleries especially. I wanted to continue working closely with emerging and mid-career artists from Africa, but in a less commercial context which prioritised slow, sustainable growth through curatorial engagement, residencies, and meaningful patronage. The Foundation emerged from that desire: to create a structure that supports artists’ practices over time free from the harsh pressures of the market, with space for deeper reflection, experimentation and exchange.
— The Foundation started earlier this year as a non-profit dedicated to championing African artists. Could you tell us about its mission and vision — how it operates, what distinguishes its approach from other art foundations, and how you see it contributing to a more sustainable ecosystem for African artists?
Emma Menell: Our mission is to champion artists over the long term, giving them the time, space, and support to continue their creative journeys and play their vital role in society. We are different from most residency programmes in that we work internationally across Africa and Europe. We aim to bridge geographies and offer visibility and validation outside traditional Western-centric circuits while still engaging critically within them. This approach allows us to highlight the multiplicity of creative voices shaping the contemporary moment and to engage in the refarming of how artistic excellence is understood. The Foundation seeks to contribute to a more sustainable ecosystem for African artists by offering artists opportunities to develop their practices outside the traditional commercial gallery model.
— The residency programme includes several strands: the Tyburn Foundation Affiliated Fellowship at Civitella Ranieri in Umbria (Italy), The Bridge Visual Arts Residency in Chitungwiza, Zimbabwe (in partnership with Animal Farm Artist Residency), and a dedicated annual residency at La Foce in Umbria. Could you talk us through how each of these strands works — the selection criteria, the environment you seek to offer, and how each residency meets different artistic needs?
Emma Menell: Two of our residencies, La Foce and Civitella Ranieri, are based in Umbria, a region defined by its rural, tranquil surroundings and deep cultural history. The landscape of rolling hills, olive groves, and vineyards, combined with its Etruscan, medieval, and Renaissance heritage, invites a contemporary dialogue with history and nature. Animal Farm in Chitungwiza, Zimbabwe, offers a community-driven environment rooted in collaboration and experimentation. Artists engage directly with local practitioners, materials and cultural narratives. Influenced by permaculture principles, the residency integrates agricultural and artistic practices, creating a holistic ecosystem where creativity, sustainability and community are primary. In collaboration with our advisory board and partners, our selection criteria across the residencies are artistic merit, demonstrated commitment to their practices and potential for growth and development.
— Tyburn Foundation has physically bridged continents, basing its core values in Umbria, Italy, while remaining dedicated to African artists. How does this Italian base — a region steeped in art history — influence the creative exchange and community-building you facilitate? What is the significance of “bridging continents” both literally and metaphorically?
Emma Menell: One of our residency programmes is an Affiliated Fellowship at Civitella, an international multi-disciplinary residency programme, located in a 15th-century castle in Umbria, Italy. The residency programme brings together cohorts of visual artists, composers, and writers from all over the world, offering an extraordinary opportunity for African artists to collaborate and form international networks across disciplines, while working in what was the heartland of the Renaissance in Europe.
— The Foundation’s mission is rooted in long-term support. Beyond the immediate residency, what does the Foundation commit to over time to ensure an artist’s career is sustained and that they can “contribute meaningfully to society”?
Emma Menell: Beyond our residency programmes, the Foundation offers artists international exhibitions to extend the residency’s impact beyond the studio and into the public realm. The Foundation also provides ongoing support and mentoring though regular contact and discussions as well as championing the artists’ work in multiple forums.
— Let’s talk about the exhibition Quiet Grounds (17–22 October 2025 at PIASA, Paris), which presents new work by artists from your 2025 residencies in Italy and Zimbabwe. Could you tell us how the title “Quiet Grounds” came about, what the curatorial intention is, and how it connects to Tyburn’s overarching objectives?
Emma Menell: Quiet Grounds reflects both the physical landscapes and the psychological spaces of our residencies, places offering the space and time for exploration and for ideas to settle. The title evokes stillness, reflection, and renewal, and importantly, the idea of grounding— a return to what is essential. This is very much what we aim to foster through the Foundation’s work.
— Quiet Grounds also marks the Foundation’s first major public presentation. What curatorial approach shaped the overall presentation — from the choice of venue to the exhibition’s spatial and thematic composition — and how do you hope audiences engage with it?
Emma Menell: Residencies are at the heart of our mission, though we also believe it’s essential to present the resulting work to an international audience. We have the flexibility to share our programmes in different locations, countries, and contexts. For our first public presentation, we’re delighted to inaugurate the exhibition programme in Paris coinciding with Art Basel Paris. The curatorial approach for Quiet Grounds reflects both the diversity of the artists and the evolution of their practices during the residencies. The exhibition brings together a wide range of media— from bronze and wood sculpture to painting, collage, and printmaking – reflecting the ways in which each artist responded to their residency environment, whether in Italy or Zimbabwe. The show invites audiences to consider how environment and exchange shape artistic practice, and how the dialogue between cultures shapes both artistic perspective and creative process.
— Looking forward, what are your goals for the Tyburn Foundation in the next three to five years? Are there new geographies, disciplines (such as performance or digital media), or partnerships you’re particularly excited about?
Emma Menell: We are actively exploring further partnerships within Africa and are excited by the idea of creating a residency programme which spans further geographies.
— Looking at the wider African art ecosystem, what gaps or structural challenges do you see — especially for early- and mid-career artists — that you believe foundations like Tyburn can help address? And what remains beyond the scope of a foundation like yours, perhaps requiring broader systemic change?
Emma Menell: Artists need more spaces to create work free from commercial pressures. They also need to be recognised from their individualism and not be pigeon-holed within the genre. That’s why it’s important to situate African artists alongside global peers and form lasting relationships. For instance, our partnership with Civitella provides the opportunity for artists to be with an international cohort from around the world. We believe that the art ecosystem would benefit collectively, if the larger, established galleries were to find a way of working more collaboratively and supportively with the smaller, experimental ones.
— As someone who has moved from a career in justice to one in cultural advocacy, what do you hope will be the lasting legacy of the Tyburn Foundation — both for the artists it supports and for the wider cultural landscape?
Emma Menell: It would be wonderful if our work contributed towards the visibility, appreciation and sustained growth of the practices of African artists and if artists who passed through our programmes felt that the experience had aided their artistic development.
— Finally, what advice would you give to an African early- or mid-career visual artist who is participating (or hoping to participate) in a Tyburn residency or exhibition programme — in terms of mindset, preparation, and ambition?
Emma Menell: In any venture, while talent is a helpful starting point, the decisive factor for success is always grit, determination and commitment.
In an art world increasingly defined by speed, global fairs and market-driven imperatives, the Tyburn Foundation’s launch reminds us of the potential power of space, time and thoughtful support. Emma Menell’s shift from law and gallery to a foundation model that champions slow-growth, connectivity and long-term artist investment is both timely and suggestive of new possibilities for African-centred practice.
As Quiet Grounds opens in Paris—with its layered residencies in Italy and Zimbabwe, its reflection on geography and grounding, and the ambition to bridge continents—the exhibition serves as both a statement and an invitation. For African artists, and for global audiences curious about cross-cultural creative exchange, the Tyburn Foundation offers more than support: it offers a platform for change, reflection and meaningful visibility.
