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Emmanuel Massillon and Allen-Golder Carpenter
Consultant: Aziah James Lusala
Cell 72: The Cost of Confinement
London Gallery Weekend Performance: 6-8th June 2025 12am-12am (72 hours)
RSVP Here
Closed 12-24 June 2025
Reopens 25 June - 13 July 2025
London Gallery Weekend Performance: 6-8th June 2025 12am-12am (72 hours)
RSVP Here
Closed 12-24 June 2025
Reopens 25 June - 13 July 2025
Harlesden High Street presents Emmanuel Massillon & Allen-Golder Carpenter ‘Cell 72: The Cost of Confinement’ (6 June – 13 July 2025)
This exhibition will transform the gallery into a prison cell for over 72 hours, during which the conceptual artist Allen-Golder Carpenter will live inside the cell. The purpose of this exhibition is to provide a raw and unfiltered insight into the inhuman conditions and psychological effects of incarceration, drawing attention to the often overlooked realities of prison life. The gallery space, known for its intimate size, creates an immersive experience. The all-glass storefront allows for passersby to witness the performance, adding a unique element of public engagement to the work. This setting will create a powerful contrast between the freedom outside the glass and the confinement within, enhancing the emotional impact of the piece.
It is crucial to clarify that this exhibition is not intended to exploit prison culture for profit. Instead, it aims to raise awareness about the harsh realities faced by inmates in the American prison system. To further underline our commitment to this cause, 15% of the exhibition sales will be donated to a DC prison reform organisation and HMP Feltham.
The exhibition will feature a small number of installations that Allen will interact with in the durational performance, each representing different aspects of prison life. In conjunction with the artworks created during the performance and presented as part of The Cost of Confinement, Allen-Golder Carpenter and Emmanuel Massillon, will also present a number of affordable editions. These will include a zine, limited edition posters, and a special edition tee-shirt collection from both artists independent brands.
Emmanuel Massillon (b. 1998 in Washington D.C.)
A conceptual artistMassillon’s upbringing in the inner city deeply influenced his artistic sensibilities, providing him with a unique perspective on the intersection of race, identity, and culture, particularly as they relate to people of African descent. Through his exploration of various mediums such as painting, installation, performance and sculpture, Massillon delves into the intricate tapestry of history, weaving together narratives that challenge conventional notions and provoke thought.
His work serves as a bridge between the realities of day-to-day life and the weighty topics of political discourse, inviting viewers to engage with subjects that may have previously gone unspoken. Central to Massillon’s artistic vision is the incorporation of language and materials as essential components of his creative process. Drawing inspiration from African-American music genres like Jazz, R&B, and Rap, he infuses his art with visual puns and street vernacular, creating layers of meaning that resonate with cultural significance.
Allen-Golder Carpenter (B.1999 Washington, D.C), is a gender non-conforming interdisciplinary artist, designer, poet, and author whose work explores the multifaceted nature of identity and its interaction with the world. Carpenter’s practice spans across various media, integrating images and found objects to delve into the dynamic interplay between hip hop culture and the judicial system, censorship, and personal identity.
Carpenter’s work is deeply personal, often grappling with challenges regarding found images and the complexities of prideful masculinity. Their origins in D.C. and Maryland provide a crucial backdrop to their narrative, with anchoring works such as “100 Rappers” and “Untitled (self portrait)” reflecting hyper-specific regional rap lore. The internet, rich with Instagram screenshots, viral meme rappers, and critiques of “flex” culture, serves as a boundless reservoir of inspiration and material for Carpenter.
Aziah James Lusala (b.1994, London) is a multidisciplinary artist, multi-award-winning filmmaker, sculptor, and painter. His work is grounded in social justice, focusing on the dignity and visibility of marginalized communities—particularly those shaped by systemic inequality and the realities of life on the margins. Through his nuanced practice, Aziah challenges reductive narratives and highlights the resilience, loyalty, and humanity embedded within these lived experiences.
A graduate of the Royal College of Art, Aziah is currently pursuing a Master’s in Contemporary Art Practice and studying at Turps Banana. His creative voice is informed by firsthand understanding of the carceral system, which lends a unique depth and integrity to the themes he explores—especially those concerning survival, identity, and representation under pressure.
Aziah’s work has been showcased at major venues including HSBC HQ, Saatchi Gallery, and the Barbican Centre. In June 2025, he will present a new prison installation and performance at Southbank Centre, continuing his exploration of carcerality, representation, and embodied narrative.
He has also been appointed by Harlesden High Street gallery to oversee an upcoming exhibition on incarceration also in June for London Gallery Weekend, ensuring the project avoids fetishising prison life. In this curatorial role, Aziah brings lived experience and critical insight to safeguard thoughtful, responsible engagement with complex themes.
Through film, sculpture, and painting, Aziah builds a space for empathy and reflection—one that invites viewers to engage with complexity, recognize shared humanity, and acknowledge the strength it takes to persevere against structural adversity. His practice is guided by the belief that to create is to honor, to represent is to uplift, and to worship means to give.
This exhibition will transform the gallery into a prison cell for over 72 hours, during which the conceptual artist Allen-Golder Carpenter will live inside the cell. The purpose of this exhibition is to provide a raw and unfiltered insight into the inhuman conditions and psychological effects of incarceration, drawing attention to the often overlooked realities of prison life. The gallery space, known for its intimate size, creates an immersive experience. The all-glass storefront allows for passersby to witness the performance, adding a unique element of public engagement to the work. This setting will create a powerful contrast between the freedom outside the glass and the confinement within, enhancing the emotional impact of the piece.
It is crucial to clarify that this exhibition is not intended to exploit prison culture for profit. Instead, it aims to raise awareness about the harsh realities faced by inmates in the American prison system. To further underline our commitment to this cause, 15% of the exhibition sales will be donated to a DC prison reform organisation and HMP Feltham.
The exhibition will feature a small number of installations that Allen will interact with in the durational performance, each representing different aspects of prison life. In conjunction with the artworks created during the performance and presented as part of The Cost of Confinement, Allen-Golder Carpenter and Emmanuel Massillon, will also present a number of affordable editions. These will include a zine, limited edition posters, and a special edition tee-shirt collection from both artists independent brands.
Emmanuel Massillon (b. 1998 in Washington D.C.)
A conceptual artistMassillon’s upbringing in the inner city deeply influenced his artistic sensibilities, providing him with a unique perspective on the intersection of race, identity, and culture, particularly as they relate to people of African descent. Through his exploration of various mediums such as painting, installation, performance and sculpture, Massillon delves into the intricate tapestry of history, weaving together narratives that challenge conventional notions and provoke thought.
His work serves as a bridge between the realities of day-to-day life and the weighty topics of political discourse, inviting viewers to engage with subjects that may have previously gone unspoken. Central to Massillon’s artistic vision is the incorporation of language and materials as essential components of his creative process. Drawing inspiration from African-American music genres like Jazz, R&B, and Rap, he infuses his art with visual puns and street vernacular, creating layers of meaning that resonate with cultural significance.
Allen-Golder Carpenter (B.1999 Washington, D.C), is a gender non-conforming interdisciplinary artist, designer, poet, and author whose work explores the multifaceted nature of identity and its interaction with the world. Carpenter’s practice spans across various media, integrating images and found objects to delve into the dynamic interplay between hip hop culture and the judicial system, censorship, and personal identity.
Carpenter’s work is deeply personal, often grappling with challenges regarding found images and the complexities of prideful masculinity. Their origins in D.C. and Maryland provide a crucial backdrop to their narrative, with anchoring works such as “100 Rappers” and “Untitled (self portrait)” reflecting hyper-specific regional rap lore. The internet, rich with Instagram screenshots, viral meme rappers, and critiques of “flex” culture, serves as a boundless reservoir of inspiration and material for Carpenter.
Aziah James Lusala (b.1994, London) is a multidisciplinary artist, multi-award-winning filmmaker, sculptor, and painter. His work is grounded in social justice, focusing on the dignity and visibility of marginalized communities—particularly those shaped by systemic inequality and the realities of life on the margins. Through his nuanced practice, Aziah challenges reductive narratives and highlights the resilience, loyalty, and humanity embedded within these lived experiences.
A graduate of the Royal College of Art, Aziah is currently pursuing a Master’s in Contemporary Art Practice and studying at Turps Banana. His creative voice is informed by firsthand understanding of the carceral system, which lends a unique depth and integrity to the themes he explores—especially those concerning survival, identity, and representation under pressure.
Aziah’s work has been showcased at major venues including HSBC HQ, Saatchi Gallery, and the Barbican Centre. In June 2025, he will present a new prison installation and performance at Southbank Centre, continuing his exploration of carcerality, representation, and embodied narrative.
He has also been appointed by Harlesden High Street gallery to oversee an upcoming exhibition on incarceration also in June for London Gallery Weekend, ensuring the project avoids fetishising prison life. In this curatorial role, Aziah brings lived experience and critical insight to safeguard thoughtful, responsible engagement with complex themes.
Through film, sculpture, and painting, Aziah builds a space for empathy and reflection—one that invites viewers to engage with complexity, recognize shared humanity, and acknowledge the strength it takes to persevere against structural adversity. His practice is guided by the belief that to create is to honor, to represent is to uplift, and to worship means to give.
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