Featured Works


Art Review Oxford - Issue 10

Blouse and Skirt

Kaspanina

HATRA X Hakushi Hasegawa - “Boy’s Texture”

Hakushi Hasegawa - KITTY L/S Tee

Hakushi Hasegawa - MAHŌGAKKŌ

IWOYI : Within the Echo

Gates of Glendevon

Glow of Glendevon

Myals

Cedar Duppy

Lokik - Hyperlink

Height, Length, and Width

Hollow Sinatra - Digital Christ

Beth Sawlts - Weapon of Light and Power

Oldest Memory of Home

Jawara Alleyne - The Renegade

Divine Southgate-Smith - Take a Second to Breathe

Helios in the Night

Digital Disidentification

Abejide

Cibil

ITV Creates - Indent Week 31

Death by Reproduction

A Journey Upon The Seas

Publication Design

Fabric Prints &  Animation

Animated Short Film

Merchandise Design

Character Design

Music Videos

CGI Technical Direction

Animation & Artworks

Essay & Musical Score

Animated Short Film

Sculpture

Cover Art

Metal Print & Animation

Cover Art & Music Videos

Cover Art

Sound Installation

VFX & Film Score

Installation

Artworks & Music

Essay

Paint & Photography

Digital Prints

Sculpture

Digital Prints

Artworks



2024

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2016



About


Brandon Saunders (b. 2000, Grand Cayman) graduated from Newcastle University in 2022, and obtained his Masters from the Ruskin School of Art in 2024. Saunders’ work, magnifing diasporic perspectives in the Caribbean sphere, has exhibited in the National Gallery of the Cayman Islands many times. This includes; Upon the Seas (2017), where his piece would be adopted into the National Gallery’s permanent collection. The Cross Currents exhibition would see Saunders as a runner-up for the Emerging Artist Award until the Reimagined Futures (2021) exhibition in which he was the recipient.

Saunders has also been a contributor in the development of many Black Diasporic works. TAKE A SECOND TO BREATHE is a (Browns) commissioned work directed by Divine Southgate-Smith which saw Brandon as animator. They would go on to collaborate again with THICKER THAN WATER, an installation exhibited in the Sainsbury Center’s Visions of Ancient Egypt. During Frieze 2024, Divine Southgate-Smith would unveil Aspects of Things Existing, where Saunders aided in the creation of Twerk and Fold by rendering Southgate-Smith’s 3D object as a hyper-realistic wooden texture, before being printed as a UV sublimation on glass.

As a CGI Technical Director, Saunders would work with a larger team and actualize several black hole sequences for IWOYI: Within the Echo, a five-screen installation commissioned by the British National Library for their Beyond the Bassline: 500 Years of Black British Music Exhibition. IWOYI was also submitted for the Circa (2024) Prize, shortlisted amongst 29 other pieces, and (an excerpt) displayed on: London’s Piccadilly Lights screen, Berlin Limes Kurfürstendamm screen, and Milan’s EssilorLuxottica screen in Cadorna Square.

Saunders’ work is also permanently displayed at the University of Oxford’s Mansfield College. His piece Blouse and Skirt were amongst two other pieces to be recognized by the Mansfield-Ruddock Art Prize-whose judging panel that year consisted of Stephanie Straine, Joy Labinjo, and Nick Serota.


Clients

APPLE Inc. , Art Review Oxford , Brainfeeder , Browns , Divine Southgate-Smith , Gucci , Hatra x Hakushi Hasegawa , ITV , Jawara Alleyne , Mobi , Ninja Tune, Puma , Selfridges , Studio Bajek , The British Library , Tai Shani Studio , TAR , Warp Records


Exhibitions


Upon the Seas

Contemporary Art (Permanent Display)

Cross Currents

Play Ground

Reimagined Futures

Cayman Art Week 2022

Newcastle University Degree Show 2022

81° WEST

New Hybrids: Ruskin School

Bite

Mansfield-Ruddock Art Prize (Permanent Display)

OutBOUND



National Gallery of the Cayman Islands

National Gallery of the Cayman Islands

National Gallery of the Cayman Islands

Newbridge Project

National Gallery of the Cayman Islands

Atlantic World Art Fair

Newcastle University

National Gallery of the Cayman Islands

St Hilda’s College (University of Oxford)

Ruskin School of Art

Mansfield College (University of Oxford)

Galleria Objects

2017

2017

2020

2021

2022

2022

2022

2024

2024

2024

2024

2025
Press

“Announcing the Mansfield-Ruddock Art Prize winners 2024”
-Mansfield College (University of Oxford)

“MAHŌGAKKŌ BY HAKUSHI HASEGAWA”
-Ninja Tune


“25 Creative Tips from the #Ps25Under25 Artists”
-Adobe Blog


Contact




Arcana Mundi —
Economy and Eccentricity

Abstraction & Empirical Illustration

We live our lives made up of a great quantity of isolated instants. So as to be lost at the heart of a multitude of things. (From the Double Dream of Spring, 1970.)



“Profuse strains of unpremeditated art.”
(Shelley)


A rock is a perfect metaphor, an allegory in volume. When placed it’s sculptural limits beget a kind of artistic proposition — and when considered with reduced anthropomorphism and ungeologically — produce a ready-made analog to the causation and bounds of our attempts at the understanding of all things.
  1. Gavrilo Princip’s last grocery list written
  2. The time that alligator ate that fish
  3. When the Yongzheng Emperor found that weird dust bunny under his throne
  4. The great earthquake of Alexandria
  5. The invention of expectation in literature
  6. When the heaviest cacao fruit fell in Takalik Abaj
  7. Animesh eats his first Fly Agaric mushroom

Here the sculptor has made no concessions; no attempts to curry favor with curators or collectors — pieces wholly outside discourse. And if pressed for an affiliate movement for these “sculptures” (i.e. Cubism, Mannerism, etc.)… perhaps Monism or Cosmogonism? Definitely not Conceptualism or Pataphysics — Actualism?
        The analog? Well for sure it is 1:1. Weird; yes — a knot to be admired for it’s curves — not for untying. An emergent surface as thick as it’s mass. 
         Were it possible for the instances of our minds or world events to be mapped and dimensionally materialized, something similar to a rock would appear — areas of smoothness yielding to pockmarked particularities, density shifts and feathered explosions. What really is the shape of a boom town? A pilgrim’s journey? A section of jungle mayhem? A boring era? The silhouette of a father’s cold slap? The contours of a brief, intense friendship? Comfortably we perceive all of these things as ready to be integrated into ledgers or novels or timelines; but really they are queer crags and striations of unimaginable idiosyncrasy.
       So yes, the reflective, reasonable yield of our mind has much symmetry (computation, cataloguing, narrativizing, etc.) but it’s actual shape is no shape, but unfolding chaos and singularity visible only to our particular time-scale. Our species-wide symmetries and quantizations are basically improvisations white-labeled onto directionless infinitude attempting the constant creation of navigable Dimension.
        So, look intimately at a rock, walk around it, get up close to it, savor it’s complexion and composition as you would any painting or temple and see it as the faultless mirror that it is — a truly perfect sculpture.