Lubaina Himid

The scene I depict is the Countess's morning levee.

And the Countess has been sleeping with her lover, Silvertongue, the night before.

The Count is away.

And in order to sort of cover up what she's been doing, she invites all sorts of people to her bedroom to a kind of breakfast party.

Silver Tongue is still there, but also a castrati is there.

He's singing.

There's an eager listener.

There are all sorts of sort of courtiers and country bumpkins.

You know, he's just she's just filled the room with people.

Yeah, not as invited guests.

Right.

So they're in the boudoir, but they are her servants.

Right.

One, she has a little boy, black servant, and she has a man who is serving hot chocolate to the eager listener.

And the eager listener is listening to the castrati.

So I turn these two servants, who are still servants in mine, but the black woman artist replaces the man serving the hot chocolate.

She's giving energy to the feminist artist who is listening eagerly to the critic.

So, you know, I fell out with a lot of people making that piece because I was rude about dealers, rude about critics.

The critic was the castrati.

And I wonder since why critics, you know, not so keen on that sometimes things I do, but I often forget that I was rude in the first place.