Zarna Hart was 18-years-old when she first came to the UK in 2014. Originally from Trinidad and Tobago, she has always had a passion for creative work and decided to pursue a bachelor’s in Graphic Communications at Cardiff Metropolitan University. Her fascination with the arts continued to grow throughout her academic journey, which sparked a broader interest in the history of design and its role in shaping cultural narratives. This curiosity led her to the Royal College of Art—the world’s leading art and design university—where she earned a master’s in History of Design.
Hart is the co-founder and co-CEO of 3rd Wrld and MRKT, platforms dedicated to advocating for artists from diverse backgrounds. Her expertise spans across curation, education, and writing as she collaborates with creatives on projects of every size. She speaks with us about this journey and her impact on the creative industry.
Can you share the inspiration behind founding 3rd Wrld and MRKT, and how these platforms reflect your values and mission?
When I lived in Mexico City, I remember feeling so inspired by the reverence that Mexicans had for their culture. Not because where I come from is the opposite, but rather that it was so present in the everyday facets of life there. In Trinidad, by contrast, the appreciation for arts and culture is very closely tied to public and private funding—which creates a trickle-down effect to its demand. If we don’t have the money to maintain a National Museum with contemporary programming, no one will appreciate the works of contemporary artists. This is not something that the average American, British, or European citizen has to think about, because the institutions have always been there. So, going back to Mexico City, I saw how a culture that is often depicted negatively in Western media, took control of its own narrative and came to the question: “What’s so ‘Third World’ about where we’re from if we’re so culturally rich?”
I spent most of my time thereafter researching the relationships between global majority artists, the art sector, and the definitions of success in this field. While this research has now become a central part of my life’s work, I refuse to accept the resounding answer that “history made it so.” I intend to find other solutions to help people who deserve to feel seen in their talents,and open myself up to the brilliance there is in this world. At the moment, this pursuit exists through 3rd Wrld and MRKT.
Both 3rd Wrld and MRKT focus on amplifying underrepresented voices. How do you decide which artists to spotlight, and why is this selection so important to you?
Truthfully, both platforms started through spotlighting friends—which I think is really important in hindsight. The networks that I’ve formed along the way have been so fruitful and I think my friends deserve the world, so why not start with them? However, being specific about underrepresented voices from global majority countries was a really critical decision for me and I believe is the core of both platforms’ existence.
What role do you think platforms like 3rd Wrld and MRKT play in empowering global majority artists?
Well, for one, I hope that underrepresented artists are able to get accreditation and make a living through these platforms. Just opening the door and being a supportive voice in the field is really important in a time when art is seen as a commodity, rather than a connective medium. I also hope that they include global majority enthusiasts who may feel marginalised by the art world due to their unfamiliarity with the industry. Ultimately, my intention is to facilitate room for continual discussion amongst both artists and art’s silent admirers.
How do you envision the future of the art world and the role of diversity in shaping its evolution?
I have seen acknowledgement for a more pluralist approach in museums and galleries in the past couple of years. While I am hopeful that this momentum will remain, I am cautious of how that ebbs and flows with the global powers that be in 2025. And although my optimism might sometimes be read as naive, I genuinely hope for a future where discussions about diversity in the art world are unnecessary because equal representation has become the standard.
What advice would you give to emerging artists and curators who are passionate about creating meaningful spaces within the art industry?
If you’re doing this to become famous, this is probably not the best path for you; it’s not as glamorous as it seems. It’s a long, unsexy, unforgiving, laborious graft that requires total heart and vision. It’s a role that cannot live with ego, but self-determination and openness to flux. Though I’d like to think that I was instilled with this mentality from a young age, I continue to learn a lot about myself and the exchange that comes with this practice. It is, however, the most fulfilling thing I’ve ever done, and I hope I can do it for the rest of my years.