Sue Hare’s fascination with words, language, and news media, especially newspapers is focussed on the nature of inequalities, the legacies of empire, and the perpetuation of power structurally located within the white British majority. Knowledge, words, and intentions about improving inequalities seem fragile, lumpen, layer upon layer, year after year. Knowledge about how to improve the human condition often does not lead to promised change. This is a conundrum.  Hare’s art practice responds to an archive of news articles about racism, inequalities, and attacks by the political right on progressive enlightened thinking. The daily newspaper, “The Guardian”, forms the basis of Hare’s research and experimentation. Even in a relatively trustworthy newspaper it seems that one day’s headline news is quickly lost beneath the latest issue. Hare’s creative process is cerebral and conceptually driven, it draws on the physical and ephemeral qualities of newsprint and journalism. Making is mediated by the push and pull of methods, materials, journalising and thinking. It includes performance, collaboration, posters, clothing, expanded paintings, printing, ceramics and lost wax casting. Hare’s intention is to create works to generate empathy and to contribute to a counter-narrative towards a truly non-racist world. The shift toward coalition rather than division is a long haul. Even in 2022, white Ukrainians pass borders to safety before people of colour and the UK government cruelly plans to transport asylum seekers to Rwanda. The global majority are deemed less valuable, less human, less worthy. Racism is so ingrained in white lives that even at points of human peril it prevails.