Price: £60 (minimum donation)
Size: A3 (420mm x 297mm)
Style: Illustration and collage
Print type: Giclée (Hanhemühle FineArt Pearl) Edition: 30

Prints will be sent after 20th October. 
Frame not included.

100% of the donations made through the site go directly to United Legal Access through the Aviva Community Fund.


When virtual legal assistance service ULA (United Legal Access) approached The Anti Gallery at the beginning of September about supporting their crowdfunding campaign through art, we knew that creating something new that was in some way representative of the experiences of the work of ULA and their clients was important. With a large part of their work involving supporting and fighting for victims of the Windrush scandal, Nottingham-based multidiclinary artist and design, Honey Williams (also known as THE HONEY EFFECT) was our artist choice for commissioning new work for the fundraiser. Back in 2018, Honey created two  artworks for Nottingham’s Left Lion Magazine in response to the revelations surrounding the scandal, on what was the 60th year anniversary of British subjects from the Caribbean entering Britain on the Empire Windrush. This was upon invitation to rebuild the country after World War II.

Honey has created a brand new artwork, which will also form part of a new body of work called ‘Banned In Britain’. The artwork is available as a limited edition print in exchange for a donation of £60 or more.


ULA are depending on donations to their crowdfunding campaign to raise £45,000. As well as continuing to support Windrush victims, the much needed funds raised will allow ULA to continue providing free legal assistance related to employment, housing and more through their custom built digital platform. This service will remain free and accessible to all in the U.K who need it. The last 6 months has seen a rise in the demand for urgent and accessible legal advice, and so help is very much needed.

You can read more about about ULA and their crowdfunding campaign HERE.

The story behind the art in Honey’s words.

“I decided on this particular headline, Banned from Britain, from the front page of The Mirror newspaper. Someone was being sent back from Britain, aged 81. I read the story, and I thought that's what I'm going to use that in some way. So I incorporated that into the piece. I wanted to depict a woman, as I've heard about more women-based stories, women victims of the scandal. I wanted to focus on them as much of history doesn't.

I incorporated what to me are snakes. But the whole thing is obviously open to interpretation. I used a part of the snake to go over her mouth for a mouth like a mask to represent the times that we're living in, and on her mask is the logo from British passport, So I put that over her mouth. In that feel like when people talk about the Windrush, I just feel like everyone's been silenced. So basically, I just wanted to into we the idea of betrayal and the realisation that everything is not as it seems - the chaos that ensued after.  The reason why I chose the colours, is that they represent the colours in the Union Jack. I wanted to make them as bitter as possible to capture the distain.

After talking to my dad about that, like coming over, you came over in 1952, a long time ago and he was saying it just felt like a trick - that there was so patriotic before, just wholeheartedly swallowing the whole mother country. You know, we're on the side of Britain and speaking in a very British way, everything that they were more British than the British people that they came to see. So I wanted to incorporate the Union Jack as the backdrop to the piece to represent all of that, plus, there's British flags in the background and Caribbean flags - mainly Jamaica, because most of them were Jamaicanat the time, but I've represented every British owned Caribbean island in the piece, just because they were there too.” - Honey Williams 

The text was transcribed from a recording of a conversation with Honey Williams on 20th September 2020. The conversation was transcribed by, and edited by The Anti Gallery. A recording of the above text can be listened to below.

© The Anti Gallery 2020