Wrestling with the Image: Caribbean Interventions

Transcription

C
CONTENTS
THE
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NOTE
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The Caribbean region was traditionally narrated as Spanish,
English, French and Dutch, with their respective traditional
and creole forms, but many other languages also shape the
Caribbean experience: indigenous languages from the northern
Ebony G. Patterson, Entourage, 2010.
Amazonian region in the Guyanas, those of the various Maroon
ethnicities derived from Africa and the Garifuna who reach
into Central America, Bhojpuri, Cantonese and creoles like
Papiamento. The Caribbean continues to expand and shift.
In this manifold space, experiences produced through the
visual create meeting-points breaking through a multiplicity of
barriers.
The Caribbean is a site of investigation for the artists in
Wrestling with the Image: Caribbean Interventions. This is a
NOTES ON
WRESTLING WITH THE IMAGE
R
H E
P
O
S T
I
R
C H
R
I E
Z
is Caribbean?
C O
1: Where is th
erity
requires dext
the Caribbean
om
fr
or
of
,
in
t with
rhaps
Being an artis
or ill-fated, pe
feels illogical
en
oft
on
iti
defin
and
and wit. The
nse of ocean
ribe the expa
sc
de
lly
fu
ot
nn
itories,
because it ca
, colonial terr
nation-states
s,
nd
la
is
of
o
, languages,
the archipelag
e populations
rs
ve
di
ith
w
litan
, and unions
on a metropo
departments
When one is
s.
ie
or
st
hi
d
ltures an
rtisement with
geography, cu
ing at an adve
ok
lo
t
or
rp
ai
d
or in an
lable bodies an
subway train
skies with avai
ue
bl
d
an
s
ee
lm tr
ped
ouettes” cram
hammocks, pa
the abject “silh
at
g
in
ok
lo
— or
smiling faces
constantly expanding space shaped by wherever they may
travel, reside or imagine. It is articulated by individual acts of
visual inquiry seeking to transgress the usual and fixed cultural,
political or geographic parameters. The works of art on display
are often in contest with a much longer history of distorted
representations that continue to be internally and externally
manufactured. Wrestling with the Image is not a survey or
inventory of linguistic, ethnic, cultural or national modes.
h the world. Some
of these artists we
re born
in one island and liv
e and work in anot
her. Some are born
in
the “Caribbean dia
spora” and continu
e to investigate ho
w
that
shapes their ways
of thinking. For th
em, the Caribbean
is
als
oa
site of memory, wh
ere they process fam
ily histories or the
va
archives of former
st
colonial powers. Th
ey may live in place
s like
Japan, Austria or Ge
rmany, not tradition
ally located in diasp
oric
mappings. Much of
their work is inspir
ed by one location
,
produced in anothe
r and presented ye
t elsewhere. It refle
cts the
way Caribbean pe
ople have always be
en on the move.
Heino Schmid’s pe
rformance-derived
video Temporary Ho
rizons,
for example, was ins
pired by experienc
es in Port of Spain
during
a residency at Alice
Yard, but produced
in Blue Curry’s stu
dio in
London and first pr
esented in Liverpo
ol. La Vaughn Belle
, who
was born in Tobago
and now lives in St
Croix, shot and de
veloped
her video work in
Havana. Porcelain
Diaries suggests em
pathy
with and curiosity
about a vernacula
r living-room spac
e,
where
decorative figurine
s and keepsakes te
ll telenovela-like m
icrocosmic
yet epic stories of
love, mixed-race de
sire and emigration
in Cuba
— but perhaps als
o anywhere in the
region?
Abigail Hadeed’s ph
and Black Star Line
images of Afro-Car
otographs of elder
ly
certificates were sh
people with their
ibbean population
ot in Costa Rica. Th
s on the Central Am
UNIA
ese
erican
d ideas in the regio
n,
knitting together co
mmunities often un
known to each othe
their
exhibition,
this
in
d
represente
r.
be
Sheena Rose’s video
language groups may not
s are about Cape To
wn. Marlon Griffith
’s
im
dialogue.
in
ages of school girls
works remain
with “powder on th
eir chest” in “bling”
patterns were shot
by Gerard Gaskin,
a Trinidadian phot
ographer
As part of the wider About Change project, Wrestling with the living in New York, while
he was visiting Port
of
Sp
ain
.
Many of
these works are co
Image investigates contemporary Caribbean visual thinking
llaborative enterp
rises between artis
ing
ts, derived
from shared observa
and its trajectories: our experiences or ways of understand
tions and interests.
Even though similarly engaged artists from many countries or
coast discuss the m
ovement of people
an
CARIBBEAN INTERVENTIONS
questions.
and moving throug
7
in sloops on a CNN report, or moving in the background of
historical photographs — these become troubling and anxious
afraid to fight a perfect stranger. We see the artist rendering
himself in training, at the starting block, as a runner, as a boxer
or sometimes as a wrestler. He presents himself, in various
combative postures and sequences, as a contender, but with
an image of himself. This entanglement or engagement of
the other-self, a shadow or mirror image, is an ongoing story.
Will these selves ever merge and find cohesion, or will one be
split asunder in the search for “true” self-consciousness and
awareness? The Caribbean artist is always in competition with a
long history of expedient labelling of their world and their very
selves — externally and also internally.
Ebony G. Patterson’s Entour
age is a constructed studio
group portrait of friends and
family — many of them fell
ow
artists — dressed and made
up to look like stylish danceh
all
characterizations, complete
with ironic bleached faces
and
androgynous attire. This is real transnational culture, initially
driven by a social underclass, which has become a viral
vernacular reaction to ideas of high and low culture within
the class warfare of urban Kingston. The engagement of this
Marlon Griffith, louis, tribal, blossom, 2009
language infers the “carnivalesque” — not as folk spectacle coopted by nationalist regimes, but as social contestation in the
urban space, satirical and virile.
Marlon James’s Mark and Giselle look back at us from within
the frame, but not as generic nameless silhouettes. They are
fellow artists and friends living in Kingston, and co-conspirators
in this declared moment. Their clothes and expression defy
our expectations, along with the empty background. They
could be young people anywhere — Toronto, Port of Spain,
Johannesburg? Perhaps only a sense of time or the “now” is
conveyed when we encounter these images.
the agency of
In a place like the Caribbean, we cannot take
of a much longer
portraiture for granted, in the aftermath
al representations.
history of topographical and anthropologic
subject — within the
The subject position — or the role of the
is highly contested.
frame or field of pictorial representation
the Caribbean recount
Standard regional historical narratives of
ns being privately
or register developmental shifts from perso
colonial subjects —
owned property — indentured workers and
ple. But in the pictorial
to being citizens — of a republic, for exam
ral, national, ethnic
domain, we are still anthropological, cultu
remain labelled but
or electoral commodities and signifiers. We
r and of exchange
nameless images. The moment of encounte
the purpose for
is what is at stake. The question is whether
and not simply imagetaking the image shifts to real portraiture
ng us as subjected
capture, in the worst sense of the term, leavi
legänger-ing that
signs of ourselves, in a kind of cultural dopp
a series of images by John Cox, with titles such as I am not
et George, iconic portraits
of two
American revolutionary libe
rators and “founding fathers
”
face off and mirror each oth
er, highlighting the unansw
ered
questions of our varied hist
ories and dreams. If we shift
ed
to very traditional historic
al art world imagery, they
could be
replaced by portraits of Wif
redo Lam and Pablo Picass
o. There
is something intriguing abo
ut the miniature scale of the
se
images — visual commenta
ries which function like disc
rete
interpersonal notes placed
in the public domain. These
works
recall Noel’s earlier miniscu
le public works, with images
not
much larger than postage
stamps, placed on gates, wa
lls and
lampposts in Port of Spain.
9
I got the idea for the name of this exhibition while looking at
In Nikolai Noel’s Toussaint
Abigail Hadeed, Trees without Roots, 1995
2: Looking and contending
like a street hust
le
our experiences, but transformed into patterns and signs.
predicaments in
a
His investigation of over-familiar Dutch slave ship designs
one flinches.
r’s to gain critica
l attention and to
postcolonial wo
discuss
e bottle falls,
rld. Each time th
transforming into DNA or atom-like forms transforming into
read like alternative titles. It is a deeply ironic commentary on
These artists disp
taken back –made into aesthetic forms, seeking out the
dissonance between what the forms mean and or feel like when
manipulated or reclaimed.
Blue Curry uses elements associated with the tropical and
Marlon James, Mark and Gisele, 2007
tourism to bring our attention to the status of the Caribbean
island as a contemporary industrial site. His work engages these
signs mischievously to conceptually alter our awareness of
history and the current social space. In a recent installation in
Liverpool, he placed gallons of sun-tan lotion into a perpetually
oscillating cement mixer. Many of his “untitled” works reveal
3: Space vs place
d to understand the Caribbean
In viewing this work, we are aske
space that is shaped by
as a space rather than a place: a
themselves, whether in the
wherever Caribbean people find
or Asia. It is a conversation
Americas at large, Europe, Africa
world — a dialogue about
about movement in the Atlantic
ment.
dispersal, rather than just displace
e is a graphic codification
Charles Campbell’s Bagasse Cycl
basis about our work and
of the things we know on a daily
formalist language. His video Discovery of the Palm Tree Phone
Mast — one of his few works with a declared title — makes
fun of the language of “discovery” in its scrutiny of a cellular
tower designed to look like a palm tree, so as not to spoil the
view of tourists. The work refers to the ongoing development of
the tropical as an artificial construction with roots in the 19thcentury post-sugar era.
For artists like Roshini Kempadoo and Joscelyn Gardener,
the archive becomes an archeological site for reconstructing
memory to rethink historical or received knowledge and
mythologies — to tell new stories. Heino Schmid’s pursuit
of balance or a fleeting order in Temporary Horizons infers
something about the artist and his society. His act of balancing
bottles looks like a sleight of hand — a performative feat
lay a defiance ag
ainst being pinn
ed down to a
single location, an
d the expectation
s ascribed to bein
g here or
there. Defying th
ese territorial bo
undaries brings
up questions
of license and ap
proval, and inde
ed images of pa
ss
ports,
certificates, and
associated coats
of arms and offi
cia
l insignias
move through m
any of the works,
underscoring th
e
wa
bodies and land
y that
are constantly co
mmodified and
licensed. So
much of Caribbe
an reality has to
do with stamps
and certificates
and “papers”, an
d the visual voca
bulary of these im
ages is
another way in w
hich these work
s are in dialogue
with each
other, from Hew
Locke’s appropria
tion of obsolete
bonds and
certificates, to th
e passport stam
ps on Jean Ulrick
Dé
sert ’s
colour-by-numbe
r diagrams, the ro
yal insignia that
be
comes a
mark of identity
in Holly Bynoe’s
Imperial, or the
Natives on the
Side of the coat
of arms in Nikolai
Noel’s image. To
nya Wiles
their intent through Curry’s listing of the materials, which
g history” — histo
ry in the perpetua
l present
tense — is convey
ed through re-te
lling or re-enact
ment, but
through newer m
arkers more relat
ed to contempo
rary signs, in
a process of visua
l reconstruction
via the imaginar
y.
This is not
a form of escapi
sm, but a distorti
on aimed at “rese
ei
ng ”. The
ooze of Nicole Aw
ai’s Specimen Fr
om Local Ephem
era: Mix More
Media! is a fluid
potent form in m
otion — organic
and freeflowing, but havin
g no specific form
or shape as it ad
apts to new
spaces and new
relationships in
its altered state.
Like the topsyturvy dolls of th
e colonial era in
which the artist
sp
lits herself,
sometimes anot
her self becomes
the inverted othe
r or someone
else altogether.
This chameleonlike form is alarm
in
g
to a world
that requires fix
ed and readable
signs and bounda
ries.
as he sometimes calls them, in which our experiences are
itional role within a visual
disturbingly reminds us of our trad
making, or coyly performed.
territory not exclusively of our own
The idea of “livin
11
Virtual Exiles: The Colour Museum (2) – Roshini Kempadoo (2000)
flocks of migrating birds convey the story of the “migrations”,
E
C
N
A
I
F
E
D
A
Y
A
L
P
S
I
D
S
T
S
I
T
R
A
O
E
T
S
N
W
THE
O
D
D
E
N
N
I
P
G
N
I
E
B
AGAINST OCATION, AND THE
L
G
E
N
I
L
E
G
B
N
I
O
S
T
A
D
E
B
I
R
C
S
A
S
N
O
I
T
A
T
C
E
P
EX
.
E
R
E
H
T
HERE OR
sticks her tongue out at us through a china bowl “certified”
by the British crown. This record of her playful, performative
act of transforming colonial-era crockery into a mask provokes
traditional readings of “whiteness” or “blackness” in the
Caribbean space. Around her wrist we see a coloured string,
placing the gesture within contemporary life in the islands.
and away or onboard and abroad was always one of tension
actual site of daily experience. For all,
or competition around discussions of authenticity and access.
about visual vocabularies, sensibility
Over the last ten or fifteen years, the Internet, cheaper travel
it becomes a dialogue
and even a particular social
awareness.
Jean-Ulrick Désert, The Seventh Secretary General of the U.N., 2009.
and digital media have facilitated new ways of working and of
collaboratively creating critical dialogues that defy traditional
The digital world so far has no overly
determined and owned
boundaries (national, cultural and even linguistic). Perhaps the
history in the field of representation,
so these artists are
Caribbean may be redefined by these exchanges across this new
not burdened by the baggage of, for
“critical space”?
painting or the status of the black body
example, the history of
within the frame or
field of representation. It is open seas
on. And access to digital
Online media allow individual artists in various locations to
equipment allows a new generation
share ideas and images and to think more expansively. New
and to disseminate them in ways that
relationships or new conditions are in the process of being
hierarchies of skills and specialized know
produced for how Caribbean people can relate not just to each
define value — for example, in video
other, but also to wider audiences. For some, the Internet is a
site of memory and historical investigation. For others, it is an
of artists to create images
break down traditional
ledge as means to
and photography.
13
In the recent Caribbean past, the relationship between home
4: Digital natives
THEY ARE NOT WAITING
TO BE THE SUBJECT
OF DISCOVERY, BUT
DARING THEMSELVES TO
TRANSGRESS BOUNDARIES
AND NEW EXPERIENCE.
labourer in a long history of social documentation. But these
individuals’ work attire has the feeling of costumes, and their
place within the landscape takes on the look of 19th-century
topographical images of people and places — images of slaves
sun and not sweaty. Did it originate from the powdered hair and
and peasants. The artificiality of the light creates a slightly
bosoms of the European courts that once colonized these islands?
absurd quality, rendering both the subject and the place
Rodell Warner, Relief Series, 2010
unfamiliar.
A sense of place of origin may shape these artists’ interests, but
they are not satisfied to represent a fixed site or territory. They are
The powdered neck and bosom, long a confusing sign in the
not waiting to be the subject of discovery, but daring themselves
in
class warfare of the Caribbean, is embraced and asserted
to transgress boundaries and new experience. As curator, I have
r
Marlon Griffith’s Powdered Girls, his take on street-level glamou
tried my best not to do a “Caribbean” show. In shifting back and
the
and pride. Griffith creates templates for the application of
forth between my visual and curatorial forms of enquiry, I feel a
new
powder from the logos of high-fashion houses —a whole
tremendous empathy with the ambitions and concerns of these
to
reading of bling and self. The talcum powder often refers
artists within the current moment. For them, the region remains an
freshness, as in just-having-bathed — being cool in the hot
ongoing work in progress.
15
Rodell Warner’s Worker photographs tackle the idea of the
N A
I A
T
T A
S
R E
O
F L
o
Alessandro Balte
nezuelan artist
Ve
e
th
,
le
tic
ar
In a recent
w palm tree of
e grid is the ne
th
f
“I
,
ng
yi
sa
ed as
Yazbeck is quot
1
ing progress.”
ak
m
e
ar
e
w
t,
ar
Latin American
e Western
g because in th
in
rik
st
is
t
en
This bold statem
palm trees
aracterized by
ch
t
os
m
is
at
e area th
hemisphere, th
a defining
is the palm tree
se
el
re
he
ow
. N
or
is the Caribbean
Cone, two maj
or the Southern
o
ic
ex
M
in
t
no
y
motif—certainl
ent
artist’s assessm
art. So in this
an
ic
er
Am
tin
centers of La
“Latin
t is wrong with
ribbean is wha
Ca
e
th
of
e
ap
the landsc
17
installing marcel pinas: fragment kbi wi kani, 2007
IN DEFENSE OF PALM TREES
s much more
2
present-day experience in the
Caribbean encompasse
beginning?” Furthermore,
American art.” Yet, the
ized by Holland,
h staggering poverty rates and
erica. Historically colon
region is full of challenges, wit
than parts of Latin Am
a
, in addition to
ployment. Haiti alone is both
ited States, and France
Un
the
,
nd
limited opportunities for em
gla
En
,
ark
Denm
ing diversity and
a global model of hope. As a
ns a region of astound
tragedy of epic proportions and
Spain, the Caribbean spa
sm and slavery.
ies of the Caribbean, migration
mon threads of coloniali
result of the precarious econom
syncretism with the com
ted
n the sum of its
communities abound in the Uni
plexity that is more tha
is a part of life, and diasporic
It is a place of rich com
is
ggering beauty,
se conditions, being an artist
ply that this locus of sta
States and Europe. Under the
parts. How unfair to im
in the
ous with lack of
one stays or goes. To remain
tain future is synonym
not an easy choice, whether
tragic history, and uncer
relative
ld responsible
artist implies both a level of
Caribbean should be he
Caribbean and survive as an
progress, as though the
at does progress
stant judgment in the eyes of
of its colonial past. Wh
economic privilege and the con
for the consequences
ich to judge art?
er of society. To leave
it as a model from wh
t one is not a productive memb
use
tha
y
ers
wh
d
oth
an
,
an
me
n
eve
nt,
sts should reject
ful experience of the immigra
the quotation is that arti
involves facing the often pain
The solution implied by
abstract visual
and prejudice, and needing to
opt for a rationally-based
being subjected to stereotype
their surroundings and
ing
ibition, however,
ble to a global public. Becom
m the works in this exh
address topics that are intelligi
language. It is clear fro
the Anglophone,
text; in the Caribbean, it
answer for artists from
a difficult decision in any con
is
the
st
t
arti
no
an
is
d
gri
the
t
tha
Neither are palm
n.
-speaking Caribbean.
is almost an existential questio
francophone, and Dutch
works laden with
but what we do find are
trees, for that matter,
, sculptures,
in various mediums and by
videos, paintings, prints
This exhibition includes work
content. Photographs,
ltifaceted
their current place
ibbean origins, regardless of
us a glimpse into the mu
Car
w
of
allo
sts
s
arti
on
lati
tal
ins
d
an
e an astounding wealth of
ce of the Caribbean.
of residence. They demonstrat
contemporary experien
ways
tes them thematically is the
creativity, but what most uni
exhibition
city of images. Artists and art
e is an apt title for this
in which they point out the opa
Wrestling with the Imag
never transparent,
making pictures.
w that pictures are constructs,
the sheer difficulty of
kno
up
ns
es
oria
jur
hist
con
it
se
cau
be
ges
hard in other
s are taken at face value. Ima
age production is not so
but too often representation
Perhaps the task of im
minican intellectual
trees, and sunsets have molded
dary formulated by Do
of white sandy beaches, palm
contexts, but the quan
ure and thought
the Caribbean; the tourism
plies here: “What literat
contemporary perceptions of
Silvio Torres-Saillant ap
catastrophic
les as though they were devoid
ation that is aware of its
industry promotes these loca
can come from a civiliz
of history and culture. As a result, the region’s artists are
lacking a distinct identity). Another image Black Hole probes the
particularly sensitive to stereotype, and much of their work calls
theme further, focusing here on the adolescent body of a boy
attention to images as illusory and insufficient.
as seen from above his head. The title refers to his black hair,
invisible. There is a certain sadness pervasive to Nadia Huggins’
works engage the theme of fight and struggle. John Cox’s
images, whether these be empty or peopled. Regardless of her
representations of boxers often feature a black man who seems
working with color or in black and white, she uses dark tones
to be sparring against his doppelgänger. In one instance, the
in very expressive ways, evoking melancholy and desolation.
man is hitting his own face while his partner stands back. These
Though her images of black men play up to stereotype as a way
paintings tend to be deeply textured, with multiple layers or
of examining preconceptions, her landscapes challenge the
various shades of colors, and they give the impression that the
picturesque views of the Caribbean.
image did not come easily, appearing worked and reworked.
The final products themselves create uncomfortable tensions,
The idea of the double is also an integral part of the work
both within the composition and for the viewers. They seem
of Nicole Awai. In Specimen from Local Ephemera: Mix More
to allude to a process of self-examination that is never fully
Media!, Awai depicts herself in a double self-portrait wearing
resolved. Ultimately, they succumb to a kind of powerlessness,
a light colored camisole and a green skirt with a batik print
ironic for representations of fighters, and somehow the
of sea turtles. Lying on a surface covered with discarded
spectator becomes implicated in their defeat. The photographs
materials, the version of herself on the left looks out at the
of Nadia Huggins problematize the image in similar ways. In The
viewer confrontationally, making a gesture of resistance. Her
Quiet Fight is a striking scene of two men wrestling under the
other self seems relaxed, and her attitude is more receptive.
clouds. Executed in high contrast black and white, the men’s
With a downcast gaze and her hand held out in salutation, she
faces are obscured by shadows while the clouds gleam in the
acknowledges the viewer in an apparently friendly manner.
upper register. As in Cox’s boxing scenes, they would almost
The image is complicated and puzzling, with references to the
appear to be the same bald, dark-skinned man, except for the
artistic trade interspersed with a map legend made up of nail
fact that they are captured in a photograph. Black masculinity
polish colors and their names, abstract colorful shapes, three
here is examined through the stereotype of the African-
water towers, and a collaged landscape of a deteriorating
descended male as strong, violent, and interchangeable (i.e.
house in split perspective. Deliberately unresolved, it plays
Specimen from Local
Ephemera: Pinpoint Black
(Backward) Graphite, acrylic
paint and nail polish on
paper, 2007
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C
R
with illusion and representation to call attention to the lack of
has never seen a Japanese person in his life” and later, when
transparency of visual language.
recounting the uncle’s experience of viewing the film, “He
strains to see himself.” The video calls attention to how, in the
Richard Fung points out how illusion is created cinematically
hands of Hollywood, the Caribbean becomes a blank slate on
in his video Islands. Here, he deconstructs the Hollywood film
which to project fantasy and desire. In juxtaposing close-ups of
Heaven Knows, Mr. Allison (1956), directed by John Huston and
the actors with shots of the masses of extras running across the
starring Robert Mitchum and Deborah Kerr. The movie tells the
beach, it exposes how difference is created and perpetuated.
story of an American marine stranded in the South Pacific during
Islands begins and ends with a shot panning over clusters of
World War II but was filmed in Tobago using locals of Chinese
palm trees, revealing how, in the popular imaginary, the tropics
descent as extras playing Japanese soldiers. The artist’s uncle
are interchangeable.
Clive had such a role, and Fung’s video intersperses clips from
the film with suggestive commentary, such as “Uncle Clive
19
Taking the theme of the exhibition at its most literal, specific
forming the almost perfect shape of an oval; his face remains
islands, employing motifs associated with the tourist industry,
a man appears to put them back in place. As he balances the
such as palm trees, conch shells, and sunscreen. In the video
bottles, the viewer is only able to see his arms and waist. The
Discovery of the Palm Tree: Phone Mast, he shoots a landscape,
process continues endlessly, a Sisyphean task. The piece carries
focusing on a lone, scrawny palm tree in the distance. As the
a resistance to meaning reminiscent of the work of Marcel
camera closes in, it is revealed that it is not a tree at all but,
Duchamp, yet the introduction of the producer makes the point
rather, a phone tower that has been camouflaged to blend
that it is a construction, not a readymade. Refusing to stay put
in with the landscape. Employing a defining trope of the
for posterity, the two bottles must become images rather than
Caribbean, the video humorously shows us that appearances are
objects in order to function as an artwork. Furthermore, the
not always what they seem. Heino Schmid’s video Temporary
transparency of the bottles belies the ethnicity of the piece’s
Horizon shows a different take on the production of images.
producer. It is only when they fall and he puts them back
In it, we see two glass bottles precariously balancing each
together that we become aware of his tanned arms. In hinting
uct of
rd for the fibrous byprod
The title is the French-wo
.
und
gro
notions of visibility
ted. The image
and invisibility.
the juice has been extrac
the sugar cane after all
of
tead of the scenic view
The clear bottles appe
ar to be empty receptac
chaos and destruction; ins
ts
ges
sug
les for multiple
t remain, stark
meanings; when the art
the traces of suffering tha
ist reveals himself, the
the tropics, we witness
ir range of
interpretive possibilitie
of slavery.
s becomes more limite
reminders of the legacy
d, as viewers
project their own assum
ptions onto the image
.
to deal
effective way with which
The trope of opacity is an
t racial
Whereas Schmid uses
of slavery and subsequen
the trope of transpare
with the region’s legacy
ncy to obscure
injustice iconically runs
meaning, opacity is an
To represent atrocity and
other tactic that this
n.
sio
res
opp
group of artists
the
employs to great succes
, several of the artists in
s. Patricia Kaersenho
of trivialization; therefore
risk
the
ut’s Invisible
ially
Men project takes Ralph
visualize what is essent
Ellison’s classic novel
ion seek oblique ways to
ibit
exh
as a point of
prints, Creole
departure. She blacks
series of stone lithograph
out the text and draws
unrepresentable. In her
multi-layered
men
images on the book’s
rs the history of slave wo
pages in order to rende
III, Joscelyn Garner recove
its
tra
Por
r it useless as a
rstyle
vehicle of written inform
h depicting a typical hai
ngly beautiful images eac
ation. Nevertheless,
nti
hau
in
her intervention
collar and a
evokes the book’s the
21
t is juxtaposed to an iron
me: the plight of an Afr
of an African woman tha
ican-American
d manner,
man completely overlo
ed in a meticulous, detaile
oked by society. Dhira
sprig of flowers. Render
dj Ramsamoedj’s
constructions embody
subjects. They refer to the
belie the horror of their
the very notion of op
nts
pri
the
acity. They consist
would
of life-sized figures com
n in the Caribbean, who
pletely covered in col
practices of slave wome
n
rtio
abo
orful squares
pregnancies
of cloth, as intensely
in order to end unwanted
visual as they are me
ingest the herbs pictured
nacing. Actively
ment for
posed, they bring to mi
ion of slavery. In punish
nd African traditions of
and resist the perpetuat
masquerade
ce them into the types
and aesthetics of exc
ess; nevertheless, to
s, their masters would for
ion
act
se
the
a Western audience,
of images renders homage
they are impenetrable
and exotic, mysterious
depicted. Gardner’s suite
lars
col
of
and unknowable.
tackles the
Charles Campbell’s pa
tims. Terry Boddie also
inting Bagasse negates
to countless unnamed vic
the traditional
media work.
association of a paint
hout much of his mixeding as a window onto
subject of slavery throug
the world and as
ges to canvas or paper and
a beautiful object to off
transfers photographic ima
er instead a bleak vis
ist
art
The
ion of an antilandscape. In a stark
yered compositions that
palette of black and wh
s these to produce multila
ene
erv
int
ite, the artist
In the series
portrays a bird’s-eye
of history and memory.
view of crushed stalks
reflect on the processes
of sugar cane on the
at his racial identity,
the artist plays with the
other on an angle. A few moments later, the bottles fall, and
The work of Blue Curry also plays up stereotypes of tropical
heino schmid
Installation views:
Temporary Horizon,
2010, Alice Yard
cture
art, but the pi
itian counterp
Ha
s
n’
to
ng
Washi
an’s other,
L’Ouverture is
as the Americ
ar
pe
ap
m
hi
e
so as to mak
is structured
ashington’s
r of George W
de
in
m
re
a
. Serving as
tion
his dark side
tructs the no
work decons
e
th
r,
ne
ow
a slave
es
background as
e United Stat
histories of th
e
th
es
in
w
rt
d inte
of the hero an
e Caribbean.
and th
evocative of farming, ritual, or the slave trade. The resulting smallscale images appear fragile and unassuming. Deliberately difficult
to interpret, they evoke the past but in a way that underscores its
fragmentary and incoherent nature. The work of Nikolai Noel also
engages with the construction of history, challenging traditional
expectations of the depiction of “great men.” His drawing Toussaint
et George juxtaposes the hero of Haitian independence Toussaint
L’Ouverture with George Washington in a thoroughly unconventional
manner. The two portraits appear as mirror images, with each
character similarly posed and gazing at the other. While Washington’s
features are drawn in pencil and his skin rendered with a light
gray wash, L’Ouverture’s face is painted in a thick black acrylic, and
his eyes, nose, and mouth are etched into the paint, giving him a
gruesome mask-like appearance. Like Nicole Awai and John Cox, Noel
here explores the notion of the double in an interesting way. Clearly,
forms an important part of local economies. Coloring over
mechanically reproduced images, she creates intriguing
compositions and makes a singular contribution to the visual
language of abstract painting. Holly Bynoe approaches the act
n
the exhibitio
of image-making through digital means. Her collages question
, the artists in
es
op
tr
al
su
erous vi
Through num
ceiving. One
the ability of photographs to capture “truth” through techniques
arances are de
pe
ap
at
th
us
mind
insistently re
ng to call
of decomposition and fragmentation. She arranges her subjects
formal layeri
of
es
qu
ni
ch
te
s
ie
pl
ap
ts
lian
group of artis
ed things. Li
into new configurations that both argue that all images are
are complicat
es
ag
im
at
th
ct
fa
e
th
tic;
attention to
imalist aesthe
constructions and challenge traditional assumptions about
employ a max
es
ur
pt
ul
sc
ges and
objects that
Blades’ colla
gender, place, and history. An eloquent writer, Bynoe’s pieces
, she creates
ns
er
tt
pa
d
an
es
ur
xt
te
rent
i
through diffe
Fragment kb
are often accompanied with poetic text that further precludes
s’ installation
na
Pi
l
ce
ar
M
.
ad
lo
er
ov
rful
offer a visual
vered in colo
a straightforward reading of the image. In her view, reality is
bottles all co
of
s
nd
sa
ou
th
of
ts
is
23
villages—
wi kani cons
unknowable, and the production of meaning is inherently a
ecific Maroon
sp
y
tif
en
id
ns
h. The patter
name—
pieces of clot
fictitious process.
slaves in Suri
es of runaway
iti
un
m
m
co
e
th
,
ly
ts
al
en
ic
o pres
histor
Sri Irodikrom
cal traditions.
lo
e
at
br
le
ce
orated
and thereby
erns and perf
Just as place, history, and process are made complicated in
multiple patt
ith
w
h
ot
cl
tik
ba
l
ta
en
a monum
t’s Indonesian
the hands of these artists, so are subjectivities. Those who
bines the artis
m
co
h
ot
cl
e
s. Th
of batik
with tree vine
engage the human figure—Sheena Rose, Marlon James, Ebony
ased method
of the wax-b
e
us
e
th
h
ug
heritage—thro
African and
G. Patterson, Marlon Griffith, Rodell Warner, Phillip Thomas,
itions of the
ad
tr
d
an
ls
bo
m
sy
e
th
ng,
dyeing—with
formal layeri
Oneika Russell, Ewan Atkinson, Natalie Wood, and Tonya Wiles—
me. Through
na
ri
Su
of
s
nt
ta
bi
ha
in
us
tive
indigeno
ities of her na
offer numerous visions on contemporary experience. Rose,
ltural complex
cu
e
th
to
n
ntio
she calls atte
s in her
James, Patterson, and Griffith focus on urban youth, portraying
ired by textile
sp
in
is
o
to
lle
ce
ar
M
e
in
oach
country. Paul
, but her appr
their subjects as strong and confident. Wiles and Warner turn
wn Boutique
Do
nd
Be
es
ri
se
e
th
om
paintings fr
tion.
historical tropes on their head by engaging with colonial subject
y and installa
by photograph
ed
rm
fo
in
is also
matter in insubordinate ways. Thomas, Atkinson, Russell, and
reproduced images depicting coins and a gun with paintings of objects
she seeks out in Africa, where the trade in used garments
that he contributes to this exhibition, he juxtaposes mechanically
Nikolai Noel
Detail: Toussaint et George,
2010
The artist photographs bundles of second-hand clothing that
The production of co
ntent, however pro
artists themselves,
and preconceptions
of difference, and the
of work that challenge and ridicule colonial and neo-colonial
, or
ke a reaction, thereb
y challenging us to
With infinite gratitud
e to Maria Leyva an
d Christopher Cozie
for their support an
r
d wisdom.
power structures. Abigail Hadeed and Roshini Kempadoo reflect
on the experience of migration through the filter of nostalgia.
marlon james
Stef 2, 2010
Hadeed sought out the Afro-Caribbean peoples who migrated to
Costa Rica and documented their continuing connection to the
Wood delve into worlds of fantasy and fiction Objects as well
the absurd. Despite their toy-like nature, they have a serious
are endowed with new meanings through the eyes of certain of
subtext, considering that timber was the main export of the
these artists. Jamie Lee Loy deconstructs the traditional still life
artist’s native Belize during the colonial era. In this light, the
through her pictures of flower petals that are pinned down or
hammers function as emblems of futility; they call attention to
bundled together, clam shells arranged around upright nails, and
the predicament of colonized peoples.
Pan-African movement of Marcus Garvey. Kempadoo turned her
attention to the experience of diasporic communities in England
and created a series of digitally altered prints that reflected on
the solitude and isolation that accompanies the immigrant.
Though this essay began by evoking the most jaded tropical
image, I hope it has been clear that my intention has not
utensils transformed to look like weapons. Her compositions
confound expectations, recasting Surrealist experiments from
The Caribbean has been referred to by scholars as the
a twenty-first century perspective. La Vaughn Belle’s video
“laboratory of globalization.” It is one of the first places in
Porcelain Diaries brings decorative objects to life, humorously
the world where so many cultures came together and learned,
exposing middle class sensibilities in a sympathetic and playful
for better or for worse, to coexist. Thus, Caribbean artists are
manner. Santiago Cal’s grouping of wooden hammers transform
by nature global citizens, and their works call attention to the
a mundane tool into a sculptural object. The pieces are hand
porosity of borders and the multifaceted nature of contemporary
carved with numerous variations ranging from the whimsical to
experience. Kishan Munroe has traveled the world, seeking to
been to advocate for more beachscapes but rather to identify
the common threads that bind the dizzyingly dynamic visual
production of contemporary Caribbean artists. For too long, the
region has been subjected to stereotype, but it is encouraging
that artists nevertheless choose to engage local subject matter—
broadly understood—instead of retreating into a hermeticist
visual language that would have them deny their surroundings
and backgrounds altogether.
a
1. Kaira M. Cabañas,
“If the Grid Is the New
Palm Tree of Latin Am
Oxford Art Journal 33.
erican Art,”
3 (2010): 367.
2. Silvio Torres Saillan
t, An Intellectual His
tory of the Caribbean
(NewYork: Palgrave
Macmillan, 2006), 7
Désert take a more cynical view of globalization, offering bodies
construction of the
es delight, frustrate
disgust, they provo
wrestling match.
of
,
S
E
P
O
Whether these imag
R
T
L
A
U
S
I
V
N
S
O
U
I
O
T
I
R
B
E
I
M
H
U
X
N
E
H
E
T
G
H
A
T
U
H
O
N
T
I
R
S
S
TH
U
T
S
D
I
N
T
G
I
R
N
M
I
A
E
V
I
R
E
E
C
Y
TH
E
L
D
T
N
E
E
R
T
A
S
I
S
S
E
N
I
C
N
A
R
A
E
P
P
A
that bind all of humanity together. Hew Locke and Jean-Ulrick
tions
ages, the meaning
25
connect with peoples of different cultures and locate the ties
on our own assump
on the nature of im
place, the articulation
past and present.
blematized by the
allows us to reflect
ARTISTS
Ewan At
kinson N
icole Aw
Holly By
ai LaVau
noe Sant
ghn Bell
iago Cal
Blue Cur
e Lillian
Charles
ry JeanBlades T
Campbel
Ulrick D
Griffith
erry Bod
l Keisha
esert Ri
Abigail H
die
Castello
chard Fu
adeed Na
Patricia
John Cox
ng Josce
dia Hugg
Kaersen
lyn Gard
ins Sri I
hout Ros
Pauline
ner Marl
rodikrom
hini Kem
Marcelle
o
n
o
p
M
a
a
K
doo Jaim
rlon Jam
ishan Mu
Pinas Dh
e Lee Lo
es
nroe Nik
iradj Ram
y Hew L
olai Noe
samoedj
Philip Th
ocke
l Ebony
Sheena R
omas Ro
G. Patter
ose One
dell War
son Marc
ika Russ
ner Tony
el
ell Heino
a Wiles N
Schmid
atalie W
ood
Ewan
ATbaKdoIsNSON
Bar
, 20.3 x 25.4
29
WHEN I WAS A CHILD
I WOULD REGULARLY
INTERRUPT MY FATHE
R
TO ASK HIM WHAT HE
WAS DOING. HE WOULD
REPLY THAT HE WAS
“BUILDING A WIGWAM
TO
WIND-UP THE MOON.”
TH
CONFOUNDING PHRASE IS
BECAME THE KEY TO
STARMAN’S MISSION. H
E
WAS TO SEARCH FOR
A PLACE TO BUILD HIS
OWN WIGWAM TO WIND
UP THE MOON. HIS QUE
S
INVESTIGATES THE RO T
L
OF THE “OUTSIDER” IN E
A
TIGHT-KNIT COMMUNIT
Y
AND QUESTIONS THE
PURPOSE OF STRUCTU
RE
AS MONUMENT OR A
SYMBOL OF BELONGIN
G.
prints
, 2009. Digital
Starman series
Nicole
AWAI
Trinidad
31
I RESPOND TO
PEOPLES’
INTERACTION
WITH ME AS A
N
ANGLOPHONE
CARIBBEAN BO
DY
LIVING AN AM
ERICAN LIFE.
THERE IS A CO
NSTANT AND
INHERENT STA
TE OF DUALIT
Y
IN THIS EXIST
ENCE. NOT A
STATE OF CON
FUSION OR A
CRISIS OF IDE
NTITY BUT AN
ACKNOWLEDG
EMENT, ACCEP
TANCE
- AN OWNING O
F SIMULTANEO
US
MULTIPLE REA
LITIES. I HAVE
AN IMPULSE T
O “MIRROR” AN
D
PLAY WITH VIS
UAL LANGUAG
ES
IN A WAY THA
T FORESTALL
S
QUICK READIN
GS. THE VIEWE
R IS
SUSPENDED IN
“LOCAL EPHEM
ERA”
– THE WORLD
OF IN-BETWEE
N–
ALWAYS IN BE
TWEEN THIS W
ORLD
AND ANOTHER
. (IN BETWEEN
LAYERS, IN BE
TWEEN MEANIN
G, IN
BETWEEN DEF
INITIONS)
a:
t and nail
Local Ephemer
e, acrylic pain
it
Specimen from
ph
ra
G
.
09
ia!, 20
Mix More Med
cm.
r, 96.5 x 127
pe
pa
polish on
La Vaughn
Porc
Digital vide
.
0:51
Duration: 00:1
THIS PROJECT CAME OUT OF AN
INTEREST IN THE AESTHETICS OF
CARIBBEAN INTERIOR DÉCOR AND
IN PARTICULAR THE COMMONLY
FEATURED COFFEE TABLE OR MESITA
DE SALA. I FOUND THAT THE OBJECTS
AND FIGURINES COLLECTED ON THE
TABLES REVEALED A PECULIAR
DISCOURSE BETWEEN THE PUBLIC
AND PRIVATE. DIFFERENT FROM THE
RELIGIOUS ALTARS, I SAW THESE
“DECORATIVE ALTARS” AS ANOTHER
TYPE OF ENGAGEMENT WITH THE
SACRED, THE INTIMATE AND THE
RITUAL.
Tobaelgaion Diaries, 2003.
mensions.
o, variable di
33
BELLE
Bahama
ox, 2009.
Lukasa B
5.4 x 25.4
Mixe
20.3 x 2
d media,
cm.
THE AEST
HETIC OF M
Y WORK IS
BY SEVER
INFLUENC
AL ANCES
ED
TRAL CRA
JARS (THA
F
TS: MEMOR
T WERE PL
Y
ACED ON A
AMERICAN
FRICAN
GRAVES IN
THE SOUTH
MEMORY B
),
OARDS (‘LU
K
ASA’ BY T
PEOPLE OF
HE LUBA
WEST AFR
ICA), AND
AFRICAN A
QUILTS BY
MERICANS
IN THE SOU
BEAUTIFU
TH. THESE
LLY CRAF
T
E
D OBJECT
ASSEMBLE
S WERE
D TO CELE
BRATE AN
OUR PHYS
D INTERPR
ICAL AND
ET
SPIRITUAL
EXISTENCE
.
BLAsDES
35
Lillian
Terry
BODDIE
St. Kitts /USA
37
I WISH TO INVESTIGATE
AND ILLUSTRATE
THE RELATIONSHIP
BETWEEN TWO KINDS
OF MEMORY: THE KIND
THAT IS DOCUMENTED
BY MECHANICAL
RECORDING DEVICES,
SUCH AS THE CAMERA,
OR PRESERVED
THROUGH HISTORICAL
MATERIALS SUCH
AS MAPS, BIRTH
CERTIFICATES,
LEDGERS, AND THE
KIND OF MEMORY
WHICH RESIDES IN THE
RECESSES OF THE MIND.
Untitled (Weapons of Choice), 2009. Photo emulsion,
toner, digital image transfer, 38.1 x 55.9 cm.
St. V
l, 2010.
Imperia
Colla
I SEEK WITHIN
STRUCTURE AND
COMPOSITION TO
CONSIDER THE
COLONIZATION O
F
LANGUAGE AND
THE
IMPLICATIONS O
F
PAST AND PRES
ENT
PASSAGES.
THE SEA IS HIST
ORY
AND WITHIN THA
T
HISTORY THERE
IS
ONLY FICTION.
one ne
l durot
rchiva
ge on a
cm.
E
O
N
Y
B incent
84 x 106
39
Holly
aged,
wsprint
go
Santia
.
sions
dimen
e
l
b
a
i
r
int, va
and pa
l
a
t
e
ood, m
11. W
0
2
,
d
Kin
Some
FIRST, I LIKE
THE HAMMER AS
A SYMBOL FOR
LABOR, PROGRES
AND POWER; THE S
ARE ASSOCIATIO SE
NS
FAMILIAR TO
EVERYONE.
SECOND, ALL THE
HAMMERS HAVE T
O
FIT MY HAND.
THIRD AND FINAL
THEY ALL HAVE :
BE NON-FUNCTIONTO
EVEN THE ONES T AL.
LOOK BEEFY WIL HAT
BREAK IF PUT TOL
THE
TEST.
41
B
L
CelA
ize
BAGASSE, THE TRASH LEFT
AS A METAPHOR FOR AN EC OVER AFTER SUGAR CANE CULTIVATION, IS USED
RELATIONSHIPS AS BY-PRO ONOMIC SYSTEM THAT VIEWS SOCIETY AND HUMAN
DUCTS. ULTIMATELY, THE W
RE
-IM
ORK ATTEMPTS TO
A
GE
TH
E PAST IN A WAY THAT LIBE
Charles
RATES THE FUTURE.
MPBELL
CA
Jamaica
se), 2009.
Bagasse Cycle 1 (Bagas
0 x 220 cm.
Acrylic on canvas, 55
Keisha
CASTELLO
Jamaica
45
MY REFL
PRESENTECTION ON THES
THE EAR S ME WITH THOUE LATEST WORK
S
MOTHER LIEST RELATION GHTS ABOUT
FORMATI AND BABY AND TSHIP BETWEEN
BETWEENON OF LANGUAG HE SYMBOLIC
COMMUNI THEM THROUGHE FORMED
FOR DAR CATION….DESPIT UNCONSCIOUS
K DEEDS,
E ITS CAP
THE UNCO
T
ACITY
H
E
SHADOW
OF
CREATIVI NSCIOUS IS THE
TY THAT
INFORMSSEAT OF
MY WORK
.
Chair, 2010.
Digital print,
106.7 x 160 cm
.
John
COXas
as, 167
on canv
ic
l
y
r
c
A
, 2009.
tranger
S
t
c
e
f
r
Pe
Fight a
fraid to
A
t
o
N
I Am
Baham
47
I FIND MY WORK
CHALLENGING
TO CREATE AND
CHALLENGING TO
THE VIEWER AS
WELL. ONE THING I’VE
COME TO REALIZE
IS THAT PEOPLE
DON’T LIKE TO BE
CHALLENGED. THEY
FIND IT INTIMIDATING,
A STRAIN TO
ACTUALLY HAVE
TO THINK ABOUT
THE WORK AND
TO QUESTION
SOMETHING.
.3 cm.
.6 x 274
Blue
n: 00:02:17.
ns. Duratio
o
si
en
im
d
eo, variable
. Digital vid
08
20
,
st
a
M
Tree: Phone
f the Palm
Discovery o
BLUE CURRY’S WORK CONJURES
ALLURING FANTASIES OF THE NATIVE,
THE TROPICAL AND THE EXOTIC WHILE
SLYLY DISRUPTING THE MYTHIC
COMPONENTS INTRINSIC TO THESE
FAMILIAR NARRATIVES. HIS MINIMALIST
OBJECTS, FILMS AND INSTALLATIONS
FLOAT AMBIGUOUSLY BETWEEN
THE MODES OF THE ETHNOGRAPHIC,
THE SOUVENIRISTIC AND THE
CONTEMPORARY.
49
Bahama
Y
CURR
s
RT
E
S
E
D
K
ULRIC
Jean
x 90 cm.
paper, 120 n paper, 120 x 90 cm.
n
o
g
a
r
d
n
o
g
ka
Ink and ra
u, 2009. In
rens Hustr al of the U.N., 2009.
a
r
te
e
r
k
e
Generals Secretary Gener
The Seventh
51
FOR TEN Y
SECRETAR EARS GENERAL
FIGURE-HE Y KOFI ANNAN WAS
THE
FUNCTION AD OF THE UN,
I
DIPLOMAT NG AS A BORDERLE
THAT A B . HIS TENURE SUGG SS
R
E
SIGN OF C ANDED-ICON IS OFT STS
O
CREATED LLECTIVE CONSEN EN A
S
B
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53
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HE WAS IN THE 1960S… IS THE WAY
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NARRAT E AWKWARD MA CTER
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M
OF THE ELED MY UNCLEN AND HIS
PARALL ERY MANLY MA HE HAD HIS
WAS A V WAS HUNTING. OWLEDGE AND
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BUDDIES NG TO MY MOTH IONSHIP-WITH
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HAD A R ENDER.
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Trinida
FUNG
d
Jocelyn
GARDNER
(R) Aristolochia bilobala (Nimine), 2009.
Hand painted stone lithograph
on frosted mylar, 91.4 x 61 cm.
WORKING
WITH STONE
LITHOGRAPHY,
SHE RUPTURES
PATRIARCHAL
OR COLONIAL
VERSIONS OF
HISTORY BY
RE-INSERTING
IMAGES OF
THE WOMEN
OMITTED FROM
THIS HISTORY.
55
(L) Mimosa pudica (Yabba), 2009.
Hand painted stone lithograph on
frosted mylar, 91.4 x 61 cm.
Barbados
57
cm.
80.6
x
3
21.
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MARLON GRIFFITH IS AN ARTIST WHOSE PRACTICE IS BASED UPON A
RECIPROCAL DIALOGUE BETWEEN MAS (THE ARTISTIC COMPONENT OF
THE TRINIDAD CARNIVAL) AND ART AS A MEANS OF INVESTIGATING
THE PHENOMENOLOGICAL ASPECT OF THE EMBODIED EXPERIENCE:
IT IS SITUATED AT THE INTERSECTION OF THE VISUAL AND PUBLIC
PERFORMANCE.
Abigail
HADEED
Trinidad
95.
59
TREES WITHOU
T
ROOTS WAS M
A
POSSIBLE THR DE
O
THE KINDNESS UGH
SUPPORT OF V AND
IR
PÉREZ RATTO GINIA
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WAS A CHARIS . SHE
M
AND WONDERF ATIC
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WOMAN WHO A L
D
THE WORK OF VANCED
M
CARIBBEAN A ANY
N
AMERICAN WO D LATIN
M
ARTISTS. THIS EN
IS DEDICATED WORK
TO HER
MEMORY.
ots, 19
hout Ro
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in
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Nadia
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St. Lu
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29.8 x
print,
m.
39.4 c
THE S. THE
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EVERY POSITIONS ION TO COM THE FORM
NT
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WITH AND PRES EREBY AD
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AND C OF VEILED
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2006
Fight,
OR
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Surin
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IN MYNAMESE THE COU NCE THE MY
SURI UGHOUT EXPERIE ITIONS. LTI
THROESS AND ND TRADARGE MU
WITN STYLES A S ARE L N WHICH
LIFE ST WORKPIECES I OF THE ESE
LATEA BATIK AT PARTSURINAM
MEDI LORE TH E FROM AFRICAN AR
I EXPI CULTURES FROM AINS CLE
WINT ON TRIB CH CONT IGENOUS
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MAR ENT, WH ROM IND
DESCUENCES F ULTURE.
INFL INDIAN C
AMER
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B
.
, 2010
a wan
n
n
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63
O
M
O
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R
S
K
I
D
IROame
.
47 cm
7x1
ia, 26
Jam
Jaba
ri
7.
, 200
101.6
rint,
.2.
x 76
al p
Digit
CAPTURING THE
SOUL OF SOMEONE
WAS NEVER MY
INITIAL OBJECTIVE.
I JUST WANTED MY
SUBJECTS TO BE
RELAXED IN FRONT OF
MY CAMERA. I DON’T
LIKE TO IMPOSE ANY
DIRECTIONS ON THEM,
I JUST LET THEM BE
AND THE RESULTS HAVE
BEEN FASCINATING,
ESPECIALLY TO ME, AS
THESE PEOPLE UNVEIL
IN FRONT OF MY LENS.
JAaica
65
n
o
l
r
a
M MES
Patricia
T
U
O
H
N
E
S
R
KAE e
Surinam
ok,
. Printed bo
ble Men, 2009
26.7 x 19 x 1
cm.
I SPECIFICALLY
WANT TO BE
AS MINIMAL A
PRESENCE AS
POSSIBLE IN MY
WORK.
67
IN MY EARLIER
PAINTINGS I WAS
BUSY MAKING BLACK
PEOPLE VISIBLE BY
PAINTING THEM VERY
EMPHATICALLY,
WITHOUT A
BACKDROP, EMOTION,
A PAINTERLY TOUCH
OR SIGNATURE.
Invisi
Guyana
Virtual
Exiles:
Fro
.
x 72 cm
0. Gic
rds, 200
Backya
ntline,
t, 47.4
lée prin
HER RESEARC
ARTWORK RE-IH AND
AND RE-IMAGINNTERPRETS
CONTEMPORAR ES
HISTORICAL EXY AND
OF THE EVERY PERIENCES
SHE EXPLORESDAY.
BETWEEN BRIT THE LINK
CARIBBEAN CUISH AND
THROUGH THE LTURE
PHOTOGRAPHSUSE OF
MEDIA, AND NE , DIGITAL
ENVIRONMENT TWORKED
S.
OO
D
A
P
M
KE
69
Roshini
106.7 cm
t, 142.2 x
in
r
p
l
a
08. Digit
Home, 20
e
h
t
in
r
Wa
Trin
I INVESTIGATE CONCEPTS AND NARRATIVES SURROUNDING MORTALITY,
THE FRAGILITY AND IMPERMANENCE OF FAMILIAR SPACES, GENDER
DISCOURSE, AND SOCIAL POLITICS. I AM INTERESTED IN THE UNIVERSAL
PHENOMENA OF LOSS, THE POLITICS OF SPACE, AND NEGOTIATIONS OF
CONTROL.
71
Jamie LOY
LEiE
dad
Hew
LOCKE
TH
I
W
G
N
RKI S AND
O
W
N
BEE IFICATE TS OF
E
V
A
I H RE CERT OCUMEN ES
SHA ORICAL DCOMPANI T
HISTMERCIAL GER EXIS
COM H NO LONERGONE OUGH
WHIC AVE UND TION THRTCY,
OR HNSFORMABANKRUP THER
TRA EOVERS, TION OR O L
TAK IONALIZA POLITICA TED
NATNOMIC OR AVE PAINSE. IN
ECO NGES. I H VER THE YERS
CHA DRAWN O THESE LAYING
AND E CASES, UNDERL THERS,
SOMCURE THE AND IN O TO IT,
OBS RMATION TENTION ECENT
INFOW OUR ATF MORE R
DRA E TELL O TS.
SOMBAL EVEN
GLO
73
Western Union International, 2009. Acrylic paint and felt pen on paper, 30.4 x 24.4 cm.
Guyana
Pauline
E
MARaCELL
Dominic
75
MY PAINTINGS
FROM PHOTOGRDERIVE
THE SERIES BE APHS AND
BOUTIQUE IS BAND DOWN
MY JOURNEY T SED ON
TAKING ME TO TO GHANA,
COASTLINES WH HE
OF T-SHIRTS, TRERE PILES
TEXTILES, FISH OUSERS,
NETS, SHOES, R ERMAN’S
CONTENTS OF TOPES AND
FORMED SCULP HE OCEAN
BODIES OF SEA TURAL
DEBRIS ON THE WASHED
BEACH.
160 x 120 cm.
Oil on canvas,
.
08
20
,
25
e
utiqu
Bend Down Bo
77
, 201
0. O
nline
proje
ct.
Baha
mas
Prel
ude
Kish
M an
UNR
OE
MY
LIM ART I
OF INAL NHAB
EXPOUR H SPACEITS
MOM ERIENUMAN S
ERA ENTS CE.
TRA S WH , PER
LIF NSITI EN WE IODS,
JOYE TO D ONS F MAK
IGN TO S EATH ROM E
UNDORAN ADNE , FRO
ECS ERST CE TO SS, M
I AM TASY ANDIN
IN R NOT TO A G,
SUP EPRE INTERGONY
BUT ERFICSENT ESTE .
D
SIM SEEK IALITING
ENG ULTA TO Y,
US AGE NEOUS
JOUWE KEPARTS LY
SUB RNEY EP HI OF
FEA LIMIN S WE DDEN
FRA RS A ALLY TAKE ,
,
NO ILTIE ND
UNCONE N S WE
THO OVER OTICE HOPE
AND SE ASING A S,
HID PRE SUMPLL
RIG E ANDJUDIC TION
DEFHTEOU SOMEES WES
END SLY TIM
ES
.
Nikolai
NOEL
20.3 cm.
panel, 25.4 x
n
o
re
tu
ix
m
ite linseed oil
, 2010. graph
s)
m
o
o
R
o
w
George (T
Toussaint et
79
THE
WOR PURP
THE K IS T OSE O
OUR WAY O QUE F MY
ARE CIVIL WE ST STION
THA THE IZATI RUCT
WOR T GOVINSTITON. WHURE
INST LD WE ERN T UTION Y
S
GOV ITUTI KNO HE
W
E
O
WE K RN T NS T , THE
HAV NOW? HE WOHAT
ALT E EVO COUL RLD
EQU ERNA LVED D WE
ORG ITABLTIVE, AN
IS ITANIZI E FORMORE
DO W TOO NG OU M OF
DES E HA LATE RSELV
OF TIRE FOVE TH TO DO ES?
I AM HING? R TH E WIL IT?
AT K L OR
MILL INTE
IND
OCC IONS RESTE
BRO URRE OF YE D IN T
POINUGHT NCES ARS HE
US T THA OF
T.
O TH T
IS
Trinidad
Ebony G.
PATTERSON
Jamaica
81
THE ON
WORK GGOING BODY
+ THE D ANGSTAS, D OF
EXPLOROILEY BOYZ ISCIPLEZ
TRENDS ES FASHION
DANCEH WITHIN JA ABLE
WHILE T ALL CULTUMAICAN
WITHIN HE EARLIERRE.
ON THE THIS BODY WORKS
BLEACH PRACTICE OFOCUSED
RECENT ING, THE MO F SKIN
CALLED WORK EXA ST
AND ITS “BLING CULMINES SONOTION RECONSTR TURE”
S OF MA
U
CHISMCOTION OF
.
cm.
ital print, 204.5 x 306
Entourage, 2010. Dig
Marcel
PINAS
WITH HIS
A
PINAS AI RT MARCEL
M
A LASTIN S TO CREATE
G RECOR
D
THE LIFE
STYLE A OF
ND
TRADITIO
N
MAROON S OF HIS
HERITAG
E
AND HOP
ES TO
CREATE
A WORLD
W
AWAREN
ESS AND IDE
APPRECI
A
UNIQUE T TION FOR THE
R
COMMUN ADITIONAL
ITIES IN
SURINAM
E.
Fragment kbi wi kani, 2007. Bottles and cloth, variable dimensions.
83
Suriname
Dhiradj
Caribbea
te, 185 x 75 x
d concre
Textile metal an
AFTER THEL
INDUSTRIAON,
REVOLUTI ISM HAS
MATERIALNTLY
SIGNIFICA D AMONGST
INCREASE AND
MANKIND, HAS
BEHAVIOR NTLY
SUBSEQUEGREATLY
CHANGED HAVE
ALSO. WE A TIME
ENTERED MAN
WHERE HU
BEHAVIOR ME
HAS BECO TABLE,
UNPREDIC REMAINS
AND THUS
ERY.
T
S
Y
M
A
Y
L
LARGE
80 cm
SurinanmWeoman Project, 2010.
85
J
RAMSAMOED
Sheena
ROSE
.
THE PRIMARY FOCUS OF MY
ANIMATION IS SOMETHING
THAT I CAN ARGUABLY SAY
EVERYONE STRUGGLES WITH,
AND THAT IS CONSTANTLY
THINKING ABOUT OUR DAILY
PROBLEMS. THERE ARE
NOT VERY MANY TIMES
DURING THE DAY WHEN
OUR MINDS ARE AT REST.
WE ARE ALWAYS DWELLING
ON SOMETHING THAT WE
NEED TO DO; A BROKEN
RELATIONSHIP, HOW WE ARE
GOING TO MANAGE PAYING
THE ELECTRICITY BILL
AS WELL AS BUYING NEW
SCHOOL UNIFORMS AT THE
END OF THE MONTH...
ration: 00:02:44
le dimensions. Du
l video, variab
Town, 2008. Digita
87
Barbados
89
Oneika
RUSSELL
Jamaica
56.
ensions. Duration: 00:03:
video, variable dim
Porthole, 2008. Digital
I SEEK TO CREAT
E A NEW NARRAT
STORIES, WHICH
SAY SOMETHING IVE FROM OLD
EXPERIENCE AND
ABOUT MY CULT
URAL
C
O
N
T
IN
UED UNDERSTAN
MYSELF THROUG
DING OF
H THE MEDIA.
Heino
SCHMID
USING
SE
EXPER LF-REFEREN
TIAL
IENCES
A
TO ILLU
S AN A
MINATI
V
NG COL ENUE
EXPER
IE
L
THE SU NCES I HOPE ECTIVE
TO REV
BTLE S
E
O
THAT I
NFORM CIAL DRAMAS AL
OU
ULTIMA
TELY B R LIVES AND
R
REALIT
IES TO ING THOSE
TH
FOR DIS
CUSSIO E FOREFRON
T
N.
Digital video, variable dimensions. Duration: 00:05:03.
91
bahamas Temporary Horizon, 2010.
Phillip
THOMAS
jamaica
93
I INTEND TO MANUFACTURE
CULTURAL RELIQUARIES,
ARTIFACTS AND SOCIAL
CURIOSITIES THAT
REPRESENT THE CULTURAL
TAPESTRY OF THE CARIBBEAN
AND THE WIDER “NEW WORLD”,
USING MEDIUMS AND OTHER
AGENTS OF THE OLD WORLD
Carousel, 2009. Oil on canvas, 198.1 x 442 cm.
Rodell
NER
WAaR
d
.5 cm.
74.9 x 49
SE
E
H
T
,
E
NRIS
U
S
E
TERS
H
C
A
R
IN T
A
MA
D CH
A
E
R
M
D
U
T
T
COS
TREE
S
A
T
U
PLAY O ROCESSION,
P
W
O
L
S
AS
H
IN
T
A
H
AT
M
TO
A
R
E
D
L
T
A
T
I
LY L
G
N
I
Z
A
AND
E
AM
G
N
A
H CH
TH
I
T
I
W
W
O
O
D
D
G TO
N
I
H
T
Y
EVER
E OF
C
N
A
N
MAINTE
UO.
Q
S
U
T
A STA
Relief s
95
trinid
print,
. Digital
0
1
0
2
,
s
erie
Tonya
10 cm.
THE OBJECT
S PROVOKE
THE VIEWER
TO INTERACT
WITH THEM.
THE VIEWER
BEGINS TO E
XPRESS A
POSTURE TO
WARD THEM,
POSSIBLY TO
UCHING THE
LEATHER, OR
STICKING
HIS/HER TON
GUE INTO
IT, OR POSSI
BLY NOT
UNDERSTAN
DING THE
OBJECT’S IN
VITATION TO
PLAY AT AL
L.
barbados
her, 33 x 27 x
Porcelain, leat
Tongue, 2008.
97
WILES
Natalie
WOOsD
99
RKING
O
W
Y
L
T
N
PRESE
M
HICH
A
W
I
,
D
L
R
A
I
A
R
O
E
B
THE MAT RRUGATED CARD OR MY
F
O
WITH IS C N APT METAPHOR ARD OFTEN
O
I FIND IS A UBJECTS. CARDB NSPORT
A
S
BLENDED ED WITH TRADE, TR WN FOR ITS
ASSOCIAT MENT, IS ALSO KNO XTURE OF
I
AND MOVE LITY, A CURIOUS M D IS SEEN
I
N
ADAPTAB AND FRAGILITY A IS EASILY
STRENGTHCOST OPTION THAT CLED.
AS A LOW D AND OFTEN RECY
DISCARDE
barbado
Wrestling with the Image: Caribbean Interventions forms part of the About Change emerging artists’
program, an initiative conceived and sponsored by the World Bank Art Program in partnership with the InterAmerican Development Bank, the OAS, and the Caribbean Community (CARICOM) Secretariat. About Change
is a series of juried exhibitions of contemporary art from Latin America and the Caribbean that will take
place throughout 2011 and 2012 at different venues in Washington, D.C., including the World Bank, the Art
Museum of the Americas, and the galleries of the Inter-American Development Bank. It has been organized
by the World Bank Art Program under the auspices of the World Bank Vice Presidency for Latin America and
the Caribbean Region.
ACKNOWLEDGEMENTS
Exhibition Curators
Christopher Cozier - Artist and Independent Curator
Tatiana Flores - Assistant Professor, Department of Art History
and Latino and Caribbean Studies, Rutgers University
Art Museum of the Americas
Lydia Bendersky - Director of Cultural Affairs
Matias Cuevas - Designer and Special Events Planner
Adam de Boer - Exhibitions Assistant
Fabián Goncalves - Exhibition Coordinator
Jenna Kloeppel - Intern
Maria Leyva - Curator Emeritus
Charo Marroquin - Administrator
Andrés Navia - Managing Director
Adriana Ospina - Education Coordinator
Trinidad Saldívar - Specialist
Greg Svitil - Public and Media Coordinator
published by
ARTZPUB/DRACONIAN SWITCH • www.artzpub.com
design by
Richard Mark Rawlins
World Bank Art Program
Celia Bravo - Program Assistant
Roxana Bravo - Photographer and Shipment Coordinator
Matthew Burke - Registrar
Maria del Carmen Cossu - Senior Education Coordinator
Anne Dronnier - Media Coordinator
Evangelina Elizondo - Assistant Curator
Adam Gage -Shipping
Marina Galvani - Curator and Manager
Elena Grant - Art Historical Research
Fernanda Ramírez - Exhibition Coordinator
Richard V. Sukhu - Art Handling
Amber Van De Genachte - Volunteers Coordinator
Special thanks to
Aura Graciela Andrade
Marielle Barrow
Caribbean InTransit
John Cox
Annalee Davis
Richard J. Demato
Friends of the Art Museum of the Americas
Ifigenia Flores
Leonardo Flores
Michele Greet
Paul Hedge
Jay Koment
Nicholas Laughlin
O’Neil Lawrence
Bahamas Mission to the OAS
Monique Nouh Chaia
Amb. Albert R. Ramdin
Richard Mark Rawlins
Paúl I. Romero
Aldo Lauria Santiago
Janine Schoonover
Brit Swan, Jr.
LISTING OF SHOW WORKS
& ARTISTS WEBSITES
1.
2009. Photo emulsion and acrylic on
handmade paper, 27.9 x 22.9 cm.
Ewan Atkinson (Barbados), Starman
series,2009. Digital prints, 20.3 x 25.4
cm/25.4 x 20.3 cm.
8.
2.
3.
4.
5.
6.
7.
Nicole Awai (Trinidad/U.S.A), Specimen
from Local Ephemera: Mix More
Media!,2009. Graphite, acrylic paint
and nail polish on paper, 96.5 x 127 cm.
LaVaughn Belle (Tobago), Porcelain
Diaries, 2003. Digital video, variable
dimensions. Duration: 00:10:51.
Lillian Blades (The Bahamas/U.S.A.),
African-American (diptych),2009. Mixed
media assemblage, 40.6 x 53.3 x 7.6 cm.
Lillian Blades (The Bahamas/U.S.A.),
Lukasa Box, 2009. Mixed media, 20.3 x
25.4 x 25.4 cm.
Terry Boddie (St. Kitts/U.S.A.), Trade I,
9.
Terry Boddie (St. Kitts/U.S.A.), Smuggler,
Terry Boddie (St. Kitts/U.S.A.), Currency,
10. Terry Boddie (St. Kitts/U.S.A.), Untitled
(Weapons of Choice), 2009. Photo
emulsion, toner, digital image transfer,
38.1 x 55.9 cm.
11. Holly Bynoe (Bequia, Saint Vincent and
the Grenadines/U.S.A.), Imperial, 2010.
Collage on archival durotone newsprint
aged, 84 x 106 cm.
the Grenadines/U.S.A.), Brian, 2010.
aged, 84 x 106 cm.
Terry Boddie (St. Kitts/U.S.A.), Trade II,
the Grenadines/U.S.A.), Inbred, 2010.
aged, 84 x 106 cm.
14. Santiago Cal (Belize/U.S.A.), Some Kind,
2011. Wood, metal and paint, variable
dimensions.
15. Charles Campbell (Jamaica/Canada),
Bagasse Cycle 1 (Bagasse), 2009. Acrylic
on canvas, 550 x 220 cm.
16. Keisha Castello (Jamaica/U.K.), Chair,
2010. Digital print, 106.7 x 160 cm.
17. John Cox (The Bahamas),I Am Not Afraid
to Fight a Perfect Stranger, 2009. Acrylic
on canvas, 167.6 x 274.3 cm.
18. Blue Curry (The Bahamas/U.K.),
Discovery of the Palm Tree: Phone Mast,
2008. Digital video, variable dimensions.
Duration: 00:02:17.
19. Blue Curry (The Bahamas/U.K.), Untitled,
2009. Conch shells, strobe light, 25 x 20
x 15 cm per piece.
33. Abigail Hadeed (Trinidad), Albertina
Robertina,from the series Trees without
Roots,1995. Digital print, 27.9 x 43.2
cm.
22. Richard Fung (Trinidad/Canada),
Islands, 2002. Digital video, variable
34. Abigail Hadeed (Trinidad), Black Star
Line Bonds, from the series Trees
without Roots,1995. Digital print, 27.9
x 43.2 cm.
23. Joscelyn Gardner (Barbados/Canada),
Hibiscus esculentus (Sibyl), 2009. Hand
painted stone lithograph on frosted
mylar, 91.4 x 61 cm.
35. Abigail Hadeed (Trinidad), UNIA
Document, from theseries Trees without
cm.
Mimosa pudica (Yabba), 2009. Hand
36. Abigail Hadeed (Trinidad), Iris
Morgan,from the series Trees without
cm.
Aristolochia bilobala (Nimine), 2009.
37. Nadia Huggins (St. Vincent/St. Lucia),
Passenger, 2005. Digital print, 29.8 x
39.4 cm.
Veronica frutescens (Mazerine), 2009.
Eryngium foetidum (Prue), 2009. Hand
28. JoscelynGardner (Barbados/Canada),
Convolvulus jalapa (Yara), 2009. Hand
Poinciana pulcherrima (Lilith), 2009.
frosted mylar, 127 x 76.2 cm.
30. Marlon Griffith (Trinidad/Japan), Louis,
2009. Digital print, 121.3 x 80.6 cm.
31. Marlon Griffith (Trinidad/Japan),
Blossom, 2009. Digital print, 121.3 x
80.6 cm.
The Garden, 2005. Digital print, 29.8 x
39.4 cm.
39. NadiaHuggins (St. Vincent/St. Lucia), The
Quiet Fight, 2006. Digital print, 29.8 x
39.4 cm.
Black Hole, 2009. Digital print, 30.5 x 4
4.4 cm.
41. Sri Irodikromo (Suriname), Frekti kon na
wan, 2010. Batik and mixed media, 267
x 147 cm.
42. Marlon James (Jamaica), Jabari, 2007.
Digital print, 101.6 x 76.2.
43. Marlon James (Jamaica), Mark and
Gisele, 2007. Digital print, 101.6 x 76.2.
46. Roshini Kempadoo (Guyana/U.K.),
Virtual Exiles: Frontline, Backyards,
2000. Giclée print, 47.4 x 72 cm.
Virtual Exiles: The Color Museum, 2000.
Giclée print, 47.4 x 72 cm.
Virtual Exiles: From the Edge, 2000.
Virtual Exiles: Going for Gold, 2000.
50. Hew Locke (Guyana/U.K.), Mexico
National Packing Company, 2009.
Acrylic paint and marker pen on paper,
23.9 x 36.4 cm.
51. Hew Locke (Guyana/U.K.), Kohinoor
Mills Company, 2009. Acrylic paint on
paper, 24.4 x 30.5 cm.
52. Hew Locke (Guyana/U.K.), Republique
Chinoise, 2009. Acrylic paint and felt
pen on paper, 36.9 x 30.5 cm.
53. Hew Locke (Guyana/U.K.), Tanganyika
Concessions Limited, 2009. Acrylic paint
and felt pen on paper, 35 x 26 cm.
54. HewLocke (Guyana/U.K.), Western Union
International, 2009. Acrylic paint and
felt pen on paper, 30.4 x 24.4 cm.
55. Hew Locke (Guyana/U.K.), Barclays Bank
Limited, 2009. Acrylic paint on paper,
30.2 x 25.4 cm.
56. Hew Locke (Guyana/U.K.), West Indies
Sugar Corporation, 2009. Acrylic paint
on paper, 30.7 x 22 cm.
57. Jaime LeeLoy (Trinidad), Talk to Me,
44. Marlon James (Jamaica), Stef2, 2010.
Digital print, 101.6 x 76.2.
58. Jaime LeeLoy (Trinidad), War in the
Home, 2008. Digital print, 142.2 x 106.7
cm.
45. Patricia Kaersenhout (Suriname/
Holland), Invisible Men, 2009. Printed
book, 26.7 x 19 x 1 cm.
59. Pauline Marcelle (Dominica/Austria),
Bend Down Boutique 05, 2008. Oil on
canvas, 120 x 160 cm.
21. Jean-Ulrick Désert (Haiti/Germany),
The Seventh Secretary General of the
U.N., 2009. Ink and rag on paper, 120
x 90 cm.
32. Marlon Griffith (Trinidad/Japan), Tribal,
103
20. Jean-Ulrick Désert (Haiti/Germany),
Generalsekreterarens Hustru,2009. Ink
and rag on paper, 120 x 90 cm.
62. Nikolai Noel (Trinidad), Toussaint et
George (Two Rooms), 2010. Acrylic,
graphite and linseed oil on panel, 25.4
x 20.3 cm.
63. Nikolai Noel (Trinidad), Toussaint on
Horseback, 2010. Graphite, linseed oil,
and ballpoint on paper, 22.86 x 30.48
cm.
64. Nikolai Noel (Trinidad), Toussaint
Greeting, 2010. Graphite and linseed oil
on panel, 20.3 x 25.40 cm.
65. Nikolai Noel (Trinidad), Natives on the
Side, 2010. Graphite, linseed oil and
spray paint on panel, 61 x 61 cm.
66. Nikolai Noel (Trinidad), A Record
of Angels Passing (polytych),2010.
Graphite, linseed oil and white charcoal
on panel, 12.7 x 17.8 cm.
74. Philip Thomas (Jamaica), Carousel, 2009.
Oil on canvas, 198.1 x 442 cm.
75. Rodell Warner (Trinidad), Relief series,
76. Tonya Wiles (Barbados), Nanny Nanny
Boo Boo I, 2009. Digital print, 151.1 x
101 cm.
61. Kishan Munroe (The Bahamas),
Prelude,2010. Online project.
73. Heino Schmid (The Bahamas),
Temporary Horizon, 2010. Digital
video, variable dimensions. Duration:
00:05:03.
77. Natalie Wood (Trinidad/Canada), Right
On, 2006. Deconstructed cardboard,
45.7 x 61 cm.
78. Natalie Wood (Trinidad/Canada),
Satellite, 2006. Deconstructed
cardboard, 45.7 x 61 cm.
105
Ewan Atkinson:
http://www.ewanatkinson.com/
John Cox:
http://www.iamjohncox.com/
Marlon James:
http://mjamestudio.com/
Nikolai Noel:
http://nikolainoelprojects.blogspot.com/
67. Ebony G. Patterson (Jamaica/U.S.A.),
Entourage, 2010. Digital print, 204.5 x
306 cm.
La Vaughn Belle:
http://www.lavaughnbelle.com/
Blue Curry:
www.bluecurry.com/
Patricia Kaersenhout:
http://www.kaersenhout.com/
68. Marcel Pinas (Suriname), Fragment kbi
wi kani, 2007. Bottles and cloth, variable
dimensions.
Lillian Blades:
http://www.lillianblades.com/
Jean-Ulrick Désert: http://www.jeanulrickdesert.com/
Roshini Kempadoo:
http://www.roshinikempadoo.co.uk/
Ebony G. Patterson:
http://artitup.zoomshare.com/
Oneika Russell:
http://oneikarussell.net/
69. Dhiradj Ramsamoedj (Suriname),
Caribbean Woman Project, 2010. Textile
metal and concrete, 185 x 75 x 80 cm.
Terry Boddie:
http://www.terryboddie.com
Richard Fung:
http://www.richardfung.ca/
Hew Locke:
http://www.hewlocke.net/
Heino Schmid:
http://heinoschmid.com/
Holly Bynoe:
http://hollybynoe.com/
Joscelyn Gardner:
http://www.joscelyngardner.com/
Jamie Lee Loy:
http://jaimeleeloy.blogspot.com/
Rodell Warner:
http://www.rodellwarner.com/
Santiago Cal:
http://www.santiagocal.com/
Marlon Griffith:
http://marlongriffith.blogspot.com/
Pauline Marcelle:
http://www.paulinemarcelle.com/
Tonya Wiles:
http://www.tonyawiles.com/
Charles Campbell:
http://www.charlescampbellart.com/
Nadia Huggins:
http://www.nadiahuggins.com/
Kishan Munroe:
http://www.kishanmunroe.com/
70. Sheena Rose (Barbados), Town, 2008.
Digital video, variable dimensions.
Duration: 00:02:44.
71. Sheena Rose (Barbados), Cape Town,
2009. Digital video, variable dimensions.
Duration: 00:01:10.
72. Oneika Russell (Jamaica/Japan),
Porthole, 2008. Digital video, variable
60. Pauline Marcelle (Dominica/Austria),
Bend Down Boutique 25, 2008. Oil on
canvas, 160 x 120 cm.
107
installing Sri Irodikromo, Frekti kon na wan, 2010.

Wrestling with the Image: Caribbean Interventions

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