As members of the black diaspora, there is often an expectation that we are here to entertain. I have experienced this my whole life. I can’t count the amount of times I have been asked if I am a singer or dancer or actress because I “Just look like I would be good at it”. In contrast, I have never been asked if I was a doctor or lawyer or any academic occupation. Whilst the speaker may feel they are being complimentary, this presumption is testament to the stereotypes and preconceptions that are held about the capabilities and purpose of black people. This painting is my attempt to dismantle this stereotype and challenge the presumption that black people can only excel in the performing arts. (And sports “Do you play basketball?”)

In the historic context, I was put in mind of the minstrelling shows that gained prominance in the 19th century and featured predominantly white actors donning blackface make-up. These shows humorously depicted racial stereotypes of African Americans as dimwitted, lazy, and superstitious. These performances included comic skits, music, and dance, while some African-American performers and black-only groups also participated.

In this painting, the clown, modelled by my dear friend Dalmar carries the weigh of disillusionment. The clown's stance is no longer that of mere entertainment but rather a stance of defiance and reclamation. The awkward pose, once performed for the amusement of others, now takes on a different meaning. This clown, done with belittling themselves for the pleasure of others, has found their voice and is ready to confront the uncomfortable truth beneath the surface.

Through examining the complexities of identity and self worth, the title of the painting is inspired in part by the phrase “When you do clownery, the clown comes back to bite” coined by tv personality Mon’ique and is a middle finger to the assumption that black people are here for entertainment purposes only.