Catalog design by Amy Cannestra Âˇ firstname.lastname@example.org
Grenada Contemporary 2017
WESTINDIAN October 27th - November 11th
A relatively young annual art exhibit, Grenada Contemporary,
hosted at Susan Mains Gallery has been growing rapidly; this year showing the work of 30 artists from 11 countries. This year, the theme of the exhibit is the one word,
found in Grenadian poet, Alister Hughes’ poem,
Artists pages 8-9 — Pooja Aggarwal with Shivam Rai pages 10-11 — Judy Antoine pages 12-13 — Oliver Benoit pages 14-15 — Mina Biabiany pages 16-17 — Amy Cannestra pages 18-19 — Nilanjan Chakravarty pages 20-21 — Neda Dana-Haeri pages 22-23 — Sabastian de Lancey pages 24-25 — Robert Foster pages 26-27 — Sylvia Franquet pages 28-29 — Rene Froehlich pages 30-31 — John Henry pages 32-33 — Jessica Holland pages 34-35 — Pooza Kataria pages 36-37 — Dave Lewis
Artists Godfrey Luke — pages 38-39 Asher Mains — pages 40-41 Susan Mains — pages 42-43 Roxanne Marquez-Augustine — pages 44-45 Marie Messenger — pages 46-47 LaVanda Mireles — pages 48-49 Ingrid Newman — pages 50-51 Vaishali Rajapukar — pages 52-53 Rekha Sameer — pages 54-55 Sohella Sokhanvari — pages 56-57 Maria Stanford — pages 58-59 Susan Valentine — pages 60-61 Richard Williams — pages 62-63 Katie Yost — pages 64-65 including an essay by Jude Nixon — pages 66-75
Pooja Arawal & Shivam Rai 8
गूँज अहसासो की
A silence so majestic in a desert of water. A darkness for dreams to make their creative mould.
पानी का रेगिस्तान और गूँज है सन्नाटे की ,
This fortress of solitude takes my fears away, filling me with tingles of sworn anticipation.
अँधेरा है ख्वाबो में और चाहत आकृति बनाने की I किले है जो मेरे एकांत के मिटा देते है सब हदें डर की , छोड़ जाते हैं तितलियों सी आज़माइशें कुछ कर औज़ार जाने की I खुसफुसाहटें चंपा की , समेटे है एक झोंका चाहतों का ,
Whispers of the Champa bring with them, a breeze of desire and the mystery of change.
और ऑफटाउ है बादलों के रहस्यों की ,
Walls so thick they can’t be penetrated the only way in is the light from within.
पर नहीं है कल्पना भविष्य की I
They predict my past but never my future, I control my destiny, I didn’t realize its power. A release held in for long, the reel undone now to explore paths not walked on.
भेदना हो जो कभी दीवारों को तोह बस रौशनी ले आना अपनी I गणना तोह करि मेरे काल की, मैं विधाता अपने भाग्य की , समझ न सकी ताकत इसकी , आज़ादियाँ समेटे सदियों की , अब चाहत है उड़ने देने की I खुलापन है चाहत एहसासो की , सम्पूर्ण होजाती हु जब अपने अंदर मिल जाती है आयनात साडी I जो बाज़ उदा करते थे कभी,
A liberation I feel, I feel a oneness, I feel complete in my soul I’m not looking outside anymore, my power is me whole.
ऊँची ऊँची उड़ान में ,
Guards of centuries ago stand still, shadows at the door, eagles flying low.
कोशिश न करना थम ने की ,
ऐ आसमान ले अये है साथ मेरे I सदियों से जो थे पेहेरेदार मेरे , बहने दो मुझे अभ , संभाल लेंगी ये फ़िज़ाएं मुझे , साथ है ये मेरे ज़माने की I
The falling skies will catch me, I am in their protection. - Pooja Aggarwal
- Pooja Aggarwal Translated by Shivam
Pooja is a designer and artist from Dehli. Shivam translated the poem for Pooja.
Judy AB Antoine Fighting
I hear what you say about me. In fact Some of all you doh ‘fraid To say it to me face: She head doh good. Something doh right with that chile, you know She sick man, She sick. Well you doh lie. Ah sick. Ah tired too. Fighting, fighting all the time. Ah fighting so long Ah don’t know what I fighting for anymore. I was seven And fighting To save my virginity. I didn’t know what virginity was But I wanted to save myself. I sat frozen As his teenage hands rubbed my flat chest. His mother, my auntie Was furious When I told her. “You mustn’t let people do them kinda things to you.” I couldn’t live there anymore, She said. “You bringing problems in my home.”
She burned my panties, the pink ones with the lace around the bottom. She burned it with rubber tires and kojo root to get rid of the evil. It followed me. Next household. Foster care. He let me grow for a while. Then he took me one night in his white jeep under some coconut trees on the beach. Bend over. I was ten. His son started coming to my room at night. I had a room of my own by then. At twelve I was bleeding heavy. Foster mother told the social worker everything was quiet with me in the house. She gave me bitter fence to drink. You’re growing up, She said. You is a ooman now. Who taught you To be a woman? Your family? Do they love you? They say ah don’t know love.
See I think you can Show love without Saying I love you. My family—you Never say I love you. And showing love? For yourselves, It’s a show, Not to share. Maybe me head doh good in truth. When I sit In the dark, So many ugly things Come into my mind. Ah tired fighting. Help me nuh! It’s like something In me has been broken. No, I’m broken And I don’t know How To fix myself Help me. Ah tired fighting. Teach me about love real love. Don’t try to steal my insideness.
At present, I am looking at turning some of my poems on sexual abuse into a stage production which incorporates poetry, dance, song, drumming and painting. I believe in the power of the arts to transform lives, and as safe ground on which children and adults can express ideas and emotions.
2014: 2004: 2002:
Biography Judy AB Antoine holds a
Bachelor of Arts in English, High Honors from the University of Hawaii at Manoa, Honolulu, (2004) and Master of Arts in Arts and Healing (A study of poetry and dance as healing elements in the lives of sexual abuse survivors), Lesley University, Cambridge, Massachusetts, (2013). She did a study of African Literature and Traditional Dance at the University of Ghana, West Africa, (2002 & 2003). She has done training in Facilitating Adult Education and Film & Television Production.
Shortlisted for Hollick Arvon Caribbean Writers Prize, NGC Bocas Litfest, Trinidad High Honors in English, University of Hawaii Board of Publications Journalism Award for Excellence in International Commentary. University of Hawaii. Myrle Clark Poetry Award, University of Hawaii
Whop! Whop! Whop! is a participatory art instillation (198cm x 36cm x 76cm) to which you are invited to enter the space between parents and children in typical Caribbean families. Are the dialogues and voices you hear, familiar, do you recognize them, have you experienced them? Is the stillness of memories long subdued and suppressed, begin to ripple across your consciousness, how do you feel? All across the Caribbean similar dialogues are being replayed at this moment using well-known scripts handed down from one generation to the next. Do these scripts define the spaces between parents and children in the Caribbean? More importantly, does their unconscious reproduction define what it means to be “Caribbean”?
2016: Susan Mains Gallery Grand Anse, Grenada 2015: 56th International Art Exhibition Grenada, Pavilion, Venice, Italy (solo) Anima Externalised Susan Mains Gallery, Grenada 2014: (solo) Somerville Open Studios Somerville, MA, USA 2011: (solo) Bridgetown Gallery Barbados
The Grenadian artist Oliver Benoit began his career as a landscape and still life painter before devoting his time to the abstract genre. His work also includes videos and installations. It is not difficult to understand the messages conveyed in Oliver’s art, but it might help to understand his background as a social scientist, which sometimes dictates his subject matter for his art. Not only to express the subject matter visually but also to dwell into more in-depth thought on the issues he wishes to explore. There are two dimensions to his work: to provoke and encourage critical thinking from the perspective of viewers particularly problems that tend to impact the lives of people negatively; and to create a sense of pleasure that transcends the subject matter thereby encouraging viewers to go beyond the artist original ideas. Such engagements with his work is stimulated by the way Oliver creates his art to continuously perplex viewers. This is why Oliver encourages viewers to pay attention to his work. There is always more in the work than is initially perceived.
Artist Statement In her problematic
Minia Biabiany proceeds from space, to history, to present realities. Coming from Guadeloupe, a non independent french Caribbean island, her installation and animation work focuses on objects and language as elements to create horizontal narratives based on a fragmented territorial approach, or, in other words, based on the archipelago paradigm giving more importance to create connexions between things than to objects themselves.
Previous Exhibitions 2016: 2015: 2014: 2013:
Biography Minia Biabiany was born
in the island of Guadeloupe (FWI) in 1988. She got a master in visual art at the National Superior Fine Arts School of Lyon in France in 2011. She lives and works in Guadeloupe and Mexico city. Minia Biabiany’s work has been shown at TEOR/éTica, San José Costa Rica; South London Gallery, London; Cráter Invertido and Bikini Wax, Mexico city; S!GNAL, Malmö; Witte de With museum in Rotterdam. In 2016, she initiated the pedagogical and artistic project Semillero Caribe: an experimental seminar based on exercises with the body and drawing engaging with concepts of Caribbean thinkers.
Spelling, SIGNAL art Center Malmö, Sweden The unity is submarine, Galerie G, La garde, France (sex)intaxis, Cràter invertido, Mexico City, Mexico Envolvernos en la lluvia, Contemporary art museum TEOR/éTica, San Jose, Costa Rica hola, viaje, hueco, Art space Bikini wax, Mexico City, Mexico
Identity is not binary. Language needs to evolve to cater to a larger spectrum. Every opinion is worth hearing, but the current way we use language is divisive. When we start to exclude one another from a fight that is all for equality, we are moving into dangerous territories. Change cannot happen without uncomfortable conversations and if we avoid or don’t have those conversations progress will not be made.
Amy Cannestra, an interdisciplinary artist from Wisconsin, combines common, household items, and found objects in ways that challenges the divisive nature of politics and language. Using body and personal experience as a starting point, her practice-based research comes to life as multimedia sculptures and two-dimensional works encouraging meditation, introspection, and hopefully an uncomfortable awareness of one’s own privilege and place.
You can’t spell privilege without legs is an installation that encourages meditation, introspection and hopefully an uncomfortable awareness of ones own privilege and place.
2017: TRIO Bienal, Rio De Janeiro, Brazil Sea Lungs & Glitter, Waving Art Gallery, Grenada, West Indies Speaking Out: Art & Politics, North Seattle College, Seattle, Washington (solo) You have the right to remain a ______., Delta State University, Cleveland, Mississippi Nasty, Arc Gallery, San Francisco, California Fem Fest, Groovy Dog Gallery, Milwaukee, Wisconsin 2016: WUD Experimental Film Fest, Marquee Theathre, Madison, Wisconsin I Witness: Activist Art, Bradley University, Peoria, Illinios Transart Triennale: The Imperceptible Self, Ufer_Studios, Berlin, Germany (solo) The Patterns’ Vicious Influence, 5&J Gallery, Lubbock, Texas
The sound installation was part of a residency program that was held in Jodhpur, India. This work is a series of recordings that were made during the period of this residency. Jodhpur as a city was full of sounds - right from the religious sermons that could be heard from the fort, coming from the city below to the the hypnotic sounds that could be heard from the work of the stone carvers, placed inside the fort. With so many sounds serving as an inspiration, there were many that came from within me. These voices , once were put out in the form of recordings, served as an immensely liberating force. This is an extremely intimate piece of work that talks lengths about the idiosyncrasies of my mind. And once put in the form of an exhibition, many of the participants could find a bit of themselves in the words that were spoken. Most perceive things in a conventional manner, because thatâ€™s what they are conditioned to do. My work aims to break that perception and encourage the spirit of exploring beyond the apparent. Hence, whilst most of my work is not abstract and the imagery is identifiable, what is not readily identifiable are the emotions hidden beneath every stroke of charcoal.
My value proposition is not just the tangible benefit of aesthetics, but also an experiential offering of inspiring people to seek beyond the apparent.
I am an art enthusiast and a self-taught independent artist, and my forte is charcoal medium and realist themes. Born in the (once upon a time) sleepy city of Bhubaneswar, my formative years were spent in New Delhi. After a brief stint of schooling in London, where I learnt various techniques in art and graphic designing, I came back to New Delhi and fell in love with the cityâ€™s quintessential chaos. I am influenced by art nouveau and gothic art, and most of my works combine characteristics of these two genres. I often delve into human expressions shown through the feminine form. I have my studio and art gallery located in Shahpur Jat, New Delhi.
Nedaâ€™s art is inspired by Persian poetry and Eastern philosophy. Her works reflect the images of the past, the myths, the fluent stories that change shape with time and yet carry with them the unconscious emotions affecting our daily life.
Neda Dana-Haeri was born in Iran and has been living in England since 1977. She studied Psychology and Fine Arts and currently lives and works in London.
Neda layers of colours and textures reflect and refract the mythological, philosophical, and emotional worlds of Sufi poets. Her paintings whether on canvas, paper or wood frequently mix oil, acrylics, ink and other materials to create depth and complexity translated into simplicity as she brings memories, myths and poetry together.
2017: 2016: 2014: 2013:
Castles in the Air Luftschlosser Poland, International Art Exhibition, Mehrangarh Fort, Jodhpur India Resonances, Grace Belgrava Where Was I, A & D Gallery, London Ellipse, Berlin This One Time, Griffis Art Center, New London, Connecticut artsLIVE_ a Persian Experience, Lyman Allyn Museum, New London, Connecticut House On Fire Passages, Barbican Library, London Promenade, Print Show Unbound Expression, Osborne Samuel Gallery View from Here
Sebastian de Lancy
A true story: While buying food one night, I got into a brief conversation with the woman at the counter during which she said, “Nobody doh like me, not ugly like me.” She was usually energetic, but this time, there was a little sadness there in that caravan. I remember her half-coy smile and the vulnerability that seeped out with it. It was an invitation to compliment her, and she probably needed it that night - I declined. Can I say that interaction exclusively inspired this series? No. The Market Ladies edges on a complex personal narrative that becomes an area of extension for every Caribbean person. I embraced two opposing spheres of imagery and made objection of the contrary into a medium. Although no human references were employed, these images eased smoothly on to paper as though I was canvassing my own memories to orchestrate these personas. That process made me wonder a bit. In these days when it is a common procedure for man to contort flesh and recalibrate skin tones… I wonder. I think about us as Westindians - the world will give our future generations technology, but only we can give them pure pride. In this way, they will never become desensitized to
our beauties and our identities will echo ever strong. As for the lady in the burger caravan, I think they let her go. I never saw her again. The Market Ladies.
Sebastian de Lancey is an artist from the Caribbean state of Trinidad and Tobago. Reflecting the islands’ diverse culture, Sebastian demonstrates artistic versatility in order to respond to the contemporary muse. Exposure to and experimentation with various art forms have enabled the course of evolution in the artist’s work; this evolution is present in ‘les diamants’ – the uneven canvas. de Lancey holds an MA and BAVA from the University of the West Indies. He is a member of the Trinidad and Tobago Art Society and has exhibited in Trinidad, Canada, US and the UK.
2015: Africa the Living Legacy Drawing from our Heritage: Colors of our East Indian Culture 2013: Caribbean in Transit: Body, Institution and Memory
The work presented in the Grenada Contemporary 2017 considers the idea of the artwork as gateway capable of transporting the thoughts of the artist to a distant audience, albeit perhaps in a cryptic or indistinct, intriguing way. Created on Wasli, a hand-prepared Indian paper, the work hopes to capture and transport the ideas and context of its making to the distant context of Grenada, somewhere I have not visited yet, but can imagine and send my marks as a form of messenger. I am interested in the role of the artist as a conduit for revealing hidden knowledge and the manner in which art aspires to uncover some insight into the nature of our shared reality. I find inspiration in the ultimate difficulty that lies in communicating this experience and my works embrace the conflicting possibilities that this dilemma can lead to. Recently this has led me to investigate systems of learning outside of the Western academic canon, such as Tarot, astrology and alchemy. Embracing the potential within the visual and historical associations that can be formed between disparate elements, the materials I present act as a constellation of elusive prompts that create a network
of associations between the myriad references that can be evoked. Often repurposing the architecture or methods of learning, the resulting works create a link between elusive systems of belief and the oblique hierarchies of understanding that are fundamental to the decoding of contemporary art.
Robert Foster is an artist currently researching alchemy, esotericism and different modes of perceiving reality. He was born in 1989 in Wegberg, Germany and studied at the Manchester Metropolitan University, earning his bachelors in Fine Art in 2011. He lives in Cambridge, UK and is a studio holder at Wysing Arts Centre, Bourn.
2017: (solo) Solve et Coagula,
Test Space: Spike Island, Bristol, UK
Creekside Open, A.P.T. Gallery London, UK Supermarket Art Fair,
Svarta Huset, Stockholm, Sweden
2016: (solo) Horizon, Roaming Room, London, UK (solo) Truth Immaterial, Crypt Gallery, London, UK
How to capture femininity and India in Pooza’s face.
Born in Belgium, 1961, writer, traveller, scholar, needlepointer, sculptor, cook and artist.
Previous Exhibitions: 2017: The Place is Here: Work and Artists from 1980’s Britain Once Removed(2) Diaspora Pavilion, Venice Biennale 2014: Portrait of a Man - Capital Age Festival, The View, Stratford 2012: Seduced by Art - National Gallery, London 2011: Once Removed - NewForest Pavilion, Venice Biennale Entanglement - Iniva, London
2010: (solo) Field Work - ArtSway Gallery, New Forest, Hampshire
2009: ai Caduti 2017: San Cesario di Lecce, Ommaggi Photo ID - exhibition, Norwich Forum, Norwich Jodhpur Mehrangargh Fort 2008: 2016: (solo) reMembering, October Gallery, London ‘Hybridity’ collaboration, 2015: Féminin Pluriel, Fondation Dar Bellarj, Marrakech Sainsbury Centre for Visual Art, Norwich Anywhere 2014: More Material, Salon 94, New York but Here’ - Cafe Gallery, London 2007: ‘Chapter Six – Racism’ - AfterShock, SCVA, Norwich 2005: ‘Connected’ - Bermondsey Artists Group‘, Café Gallery, London
Artist Statement You can look out-
side, see the ‘other world’ but you can not break out. You can see the ‘other world’ through TV and Internet but the economy and the travel restrictions does not allow easily for you to go, see and feel the other world. Would anything change if people could travel freely and everywhere they want?
From Switzerland, currently living in Grenada Study of liberal painting and sculpture Academy of Arts, Cologne, Germany Technical college for graphic and design National Technical College of Rheinbach/Bonn, Germany three years apprenticeship as glass artist and glass painter National Technical College of Rheinbach/Bonn, Germany
Previous Exhibitions: 2017: The Place is Here: Work and Artists from 1980’s Britain Once Removed(2) Diaspora Pavilion, Venice Biennale 2014: Portrait of a Man - Capital Age Festival, The View, Stratford 2012: Seduced by Art - National Gallery, London 2011: Once Removed - NewForest Pavilion, Venice Biennale Entanglement - Iniva, London Previous Exhibitions: 2017: (solo) Inside Out, LaLuna,2010: Grenada 2016: (solo) Restoration, Susan(solo) MainsField Gallery, Grenada Work - ArtSway Gallery, New Forest, Hampshire The Bridge, Susan Mains Gallery, Grenada 2009: Grenada Chocolate Festival, Susan Mains Gallery, Grenada Photo ID - exhibition, Norwich Forum, Norwich Pop-Up Exhibit, Grenada Arts Council, Spiceland Mall, Grenada 2014: Viva Mexico, Susan Mains2008: Gallery, Grenada ‘Hybridity’ Grenada Chocolate Festival, Susan collaboration, Mains Gallery,Sainsbury Grenada Centre for Visual Art, Norwich Anywhere but - Cafe London 2010: Underwater Sculpture Park, Exhibited onHere’ Grand Anse,Gallery, Grenada 2007: ‘Chapter Six – Racism’ - AfterShock, SCVA, Norwich 2005: ‘Connected’ - Bermondsey Artists Group‘, Café Gallery, London
The westindies consists of many different people with different ideologies, identitities, histories and morals among others. However despite being from different backgrounds , being westindian means we all share some traits of each other due to our history being whether cultural, physical or even spiritual. Therefore I seek to display some of the cultural aspect to being Westinadian of my own opinion.
26 year old John Henry resides in Westerhall St.Davids.Went to Grenville Secondary School in 20042009. Then attended TA Marryhow college in 2012-2014. Took interrest in Surrealism Art from then and started showing art work at the Susan Mains Gallary in 2015.
2017: The Place is Here: Work and Artists from 1980’s Britain Once Removed(2) Diaspora Pavilion, Venice Biennale 2014: Portrait of a Man - Capital Age Festival, The View, Stratford 2012: Seduced by Art - National Gallery, London
2011: Once Removed - NewForest Pavilion, Venice Biennale Entanglement - Iniva, London
2010: (solo) Field - ArtSway Gallery, New Forest, Hampshire 2017: Pop-up Art Exhibition, Spiceland Mall, Work Grenada Grenada Coco Festival Art2009: Exhibition, True Blue Bay Resort, Grenada 2016: Pop-up Art Exhibition, Spiceland Mall, Grenada Norwich Forum, Norwich Photo ID - exhibition, Grenada Coco Festival Art Exhibition, Grenada 2008: Grenada Contemporary Art Exhibition, Susan Mains Gallery, Grenada ‘Hybridity’ collaboration, Sainsbury Centre for Visual Art, Norwich 2015: Grenada Coco Festival Art Exhibition, Spiceland Mall, Grenada Anywhere butSusan Here’Mains - CafeGallery, Gallery,Grenada London Grenada Contemporary Art Exhibition, 2007: ‘Chapter Six – Racism’ - AfterShock, SCVA, Norwich 2005: ‘Connected’ - Bermondsey Artists Group‘, Café Gallery, London
body, life is dependent upon vessels When people carrying essentials to and from vital travel, they bring experiences and culture organs, life in islands of the West Indies that in turn affect the visited region. When is enriched by the influx and outflow of people leave an area, they distribute those that visit it. experiences and culture from a region to the wider world. Throughout history, the West Indies has been influenced by travelers to the region. The islands often Biography By day, Jessica works as become a stop-over place as people travel a medical illustrator & anatomy instructor. on to other areas of the world. The She received her Master of Science anatomical bones of the feet symbolize Degree in Medical Illustration in 2012 Previous Exhibitions: the travel of humans and how, despite from the Medical College of Georgia. our various outward appearances and Jessica’s background in ecology and 2017: origins, we are composed of theThe same research continually influences herBritain artPlace is Here: Work and Artists from 1980’s bone material of internal scaffolding. work as she observes explores the Once Removed(2) Diaspora Pavilion,and Venice Biennale The vessels signify the flow of life-giving natural world. Her artwork has appeared 2014: nutrients and oxygen. As in the human in exhibits in the USA and Grenada. Portrait of a Man - Capital Age Festival, The View, Stratford 2012: Seduced by Art - National Gallery, London 2011: Once Removed - NewForest Pavilion, Venice Biennale Previous Exhibitions: Entanglement - Iniva, London 2017: Illustrators Exhibition, St. George’s University, Grenada 2010: 2016: Salon, Association of Medical Illustrators Annual Conference (solo) Field Work - ArtSway Gallery, New Forest, Hampshire Pop-Up Show, Susan Mains Gallery, Grenada 2009: Gallery, Grenada 2015: Cocoa Exhibition, Susan Mains Photo ID - exhibition, Norwich Forum, Norwich 2012: Salon, Association of Medical Illustrators Annual Conference 2008: Student Scientic and Medical Illustration Exhibition, Athens, Georgia ‘Hybridity’ collaboration, Sainsbury Centre for Visual Art, Norwich 2011: Salon, Association of Medical Illustrators Annual Conference Anywhere but Here’ - CafeAthens, Gallery, London 2005: Student Scientic and Medical Illustration Exhibition, Georgia 2007: ‘Chapter Six – Racism’ - AfterShock, SCVA, Norwich 2005: ‘Connected’ - Bermondsey Artists Group‘, Café Gallery, London
Artist Statement The fort premises,
struggles within me to gather courage to break these bondages and the struggle to standup and fight for myself.
the stories of the Zenana Khana (women’s court), daily life in Jodhpur, and introspection triggered my childBiography Born in 1990 in a small hood molestation incidences. As a child, town called Latur in India, I spent my I fought. I hit a man, ran and protected childhood composing poetry and imaginmyself. I withdrew socially and saw the ing tales of clouds and leaves. I grew up world through a window, which resembles making abstract paintings and procured the screens of the fort. Today I still feel a bachelors degree in Architecture and uncomfortable by a males gaze and see Interior Design from University of Pune in myself reconciling, losing on many other 2013. After I headed to University of Arts experiences in life. Previous Exhibitions: London, UK, where I found my passion On the residency, I saw beautiful girls 2017: for art. Although I was pursing MA in who would not go to school andThe those Place is Here: Artists from 1980’s InteriorWork andand Spatial Design, there Britain was ever smiling women working, whoOnce sadlyRemoved(2) Diaspora Pavilion, Venice Biennale influence of the arts environment. haven’t seen the world outside. One Visits to museums and art galleries woman asked me, “How are you2014: alone trigged a deeper towards arts. On Portrait - Capital Ageaffnity Festival, The View, Stratford here? Isn’t your family concerned? Ain’t of a Man the course, through the means of art I you married? Ain’t you scared?” 2012: was researching on creating - National Gallery, Londona meditative This piece is a response to the Seduced above by Art spatial experience. experience. The screen is made 2011: out of During my masters, I created bangles, a feminine representation OnceofRemoved - NewForest Pavilion, Venicepaintings Biennale and installations, and when coming beauty of any Indian woman. The screen, Entanglement - Iniva, London back to India, I won first place for Found beautiful and colourful from the outside, 2010: Beyond, an installation, Kalaghoda Art is protecting while holding back. (solo) Field Work - ArtSway Gallery, New Forest, Hampshire festival, Mumbai. We are deprived of our rights to eduction, 2009: Currently I feed my passion of art and our dreams, our aspirations, and fundaPhoto ID - exhibition, Norwich design from myForum, studio,Norwich Dhi Atelier, mentally, our freedom. I contemplate the which comprises of my architectural and 2008:to power and fragility of the bangles given interior design practiceCentre along with my artArt, Norwich collaboration, Sainsbury for Visual me. In the background is the sound‘Hybridity’ of the bangles being broken, the soundAnywhere of my butexperiments. Here’ - Cafe Gallery, London 2007: ‘Chapter Six – Racism’ - AfterShock, SCVA, Norwich 2005: ‘Connected’ - Bermondsey Artists Group‘, Café Gallery, London
Artist Statement Dave Lewis is an
Dave Lewis is an artist who combines photography with international visual artist with extensive ethnographic research as a premise for exhibiting experience including the 57th his work. He invites the viewer to consider Vienice Bienale, National Gallery and their own sense of place, belonging and the Photographers’ Gallery. He has over identity through classifications based on fifteen years of experience in advancing family, race, religion, state and nationality. diversity, widenning participation and Dave lectures in further and higher collaborative practices through education. education institutions. He has run educational programs in the Tate Modern, Goldsmith college, and London College of Communication. His Previous Exhibitions: photographic work has been published in British Journal of Photography, Telegraph 2017: OnlineWork and and TheArtists Timesfrom Newspaper. He The Place is Here: 1980’s Britain has received Wellcome Once Removed(2) Diaspora funding Pavilion, from Venice Biennale Trust and the Arts Council. 2014: Portrait of a Man - Capital Age Festival, The View, Stratford 2012: Seduced by Art - National Gallery, London 2017: The Place is Here: Work and Artists from 1980’s Britain 2011: Once Removed (2), Diaspora Pavilion, 57th Venice Biennale Once Removed - NewForest Pavilion, Venice Biennale 2014: (solo) Portrait of a Man, Capital Age Festival, TheLondon View, Stratford Entanglement - Iniva, 2012: Seduced by Art, National Gallery, London 2010: 2011: Once Removed, New Forest Pavilion, 54th Venice Biennale (solo) Field Work - ArtSway Gallery, New Forest, Hampshire Entanglement, Iniva, London 2010: (solo) Field Work, ArtSway2009: Gallery, New Forest, Hampshire Photo ID - exhibition, Norwich Forum, Norwich 2009: Photo ID, Norwich Forum, Norwich 2008: 2008: Hybridity, Artist Collaboration, Sainsbury Center for Visual Art, Norwich collaboration, Sainsbury Centre for Visual Art, Norwich Anywhere but Here, Cafe ‘Hybridity’ Gallery, London Anywhere SCVA, but Here’ - Cafe Gallery, London 2007: Chapter Six — Racism, AfterShock, Norwich 2007: ‘Chapter Six – Racism’ - AfterShock, SCVA, Norwich
2005: ‘Connected’ - Bermondsey Artists Group‘, Café Gallery, London
I always pray before I work. So my work are answered prayers. I work with paint, charcoal, wire, and natural material. I work indoors and outdoors — on canvas, clothing, costumes. Along with working with my hands, I am a performer and teacher — dance, drumming, singing, stilt walking, handicraft. For me, it’s God first. It’s all about prayers. The work is not about me. It’s what you find.
Previous Exhibitions: 2017: 2014: 2009:
Grenada Chocolate Company, Grenada Chocolate Festival Launch of the North East Cluster Tourism Initiative MAREP’s Agricultural Exposition Prime Minister’s Best Village Handicraft Competition, Trinidad
Godfrey Luke was born in Fyzabad, Trinidad. After winning the Prime Minister’s Best Village Handicraft Competition in Trinidad in 2009, he moved to Grenada to share his work and art. Luke is an artist, performer and teacher. He has taught drumming, singing, dancing and handicraft to children in many schools and communities in Grenada. His works in paint, charcoal, fabric, sequins, wire, leaves, straw, rope and wood. His work has been exhibited in Grenada at MAREP’s Agricultural Expo, at the Grenada Chocolate Company during the 2017 Chocolate Festival, and the July 2017 Launch of the North East Cluster Tourism Initiative. Godfrey also won the Most Original Art project in 2016 for his work with the children’s performing group, Ashanti Footprints, where he is a director. Luke gets his inspiration for his work through his prayers. He considers his work as an answer to his prayers. It is how he communicates with his Creator, through creating.
I believe that art should reflect the fact that we are making art in a particular place, in a particular time in history, amongst certain people. To connect with our environment, each other, and our selves in the modern world is subversive. Material and landscape have the ability to be mnemonic and empathic and therefore can remind us who we are. This is my practice, to have a complete human experience through art.
Material and process driven, Mains is aware that some of the objects or content are unfamiliar to people outside of the Caribbean. Whether the sea fans in his Venice Biennale work, Sea Lungs, or the faces in his Painted Portraits for Cocoa Farmers project, Mains is fiercely local while having a hand in the global art scene #glocal. Mains believes that the objects and material we use in our artwork help communicate who we are as people and our work should look as if we come from a specific place and time. Classically trained as a painter, Mains also utilises installations to demonstrate the empathic and mnemonic quality of the objects and materials that surround us. Mains has a B.A. in Intercultural Studies from Calvin College and an MFA in Creative Practice from Transart Institute, accredited by Plymouth University, UK.
2017: The Bridge, 57th Biennale di Venezia, Grenada National Pavilion, Venice, Italy 2016: International Contemporary Art Exhibition in Dialogue with Reality of Guarani Culture, Santa Rosa, Bolivia 2015: TRIO Bienal, Reverberations - Crossed Borders of Three Dimensionality, Instituto Europeo do Design, Rio de Janeiro, Brazil 2014: (solo) Painted Portraits for Cocoa Farmers, Crayfish Bay Organic Cocoa Estate, Nonpareil, Grenada
We are always waiting for someone to come and save tus: politician, preist, foreign investor. Seems that never works out. Itâ€™s time we save ourselves.
Biography A self-taught artist, Susan
is a Grenadian. She grew up in Grenada, and her family is four generations grafted inâ€”since 1950. For more than 35 years Susan Mains has been pursuing the mystery of the Caribbean in her painting, writing, and now mixed media works. Her work has been exhibited in the Caribbean, Canada, USA, Germany, Australia, China, Italy, Brasil, Spain and Colombia and India. Born in the USA in 1958. Dual Citizen, USA/Grenada. Lives and works in Grenada. Operates Susan Mains Gallery, a centre for artistic activities in Grenada. Curator and Commissioner for the Grenada Pavilion at la Biennale di Venezia.
2017: Residency, Jodhpur India Carifesta, Gallery of Caribbean Art, Barbados (curator) Contemporaray Art in Grenada: 4th Edition, Susan Mains Gallery, Grenada 2016: (curator) Contemporaray Art in Grenada: 3rd Edition, Susan Mains Gallery, Grenada Art Medellin, Medellin, Colombia Rhy Art Fair, Basel Switzerland Gallery of Caribbean Art 2015: (curator) Contemporaray Art in Grenada: 2nd Edition, Susan Mains Gallery, Grenada TRIO Bienal, Rio de Janerio, Brazil (curator) Present Nearness, Grenada National Pavilion, 56th Biennale di Venezia, Venice, Italy
Artist Statement I explore the West
Indian folklore of the ladjablĂ¨s or she devil who is a tall, beautiful woman with a wide brimmed hat concealing most of her face. She walks in lonely forest areas looking for men whom she lures deep into the forest and is said never to return. One of her feet is a cloven hoof which she hides under a long skirt.
In 2012 I enrolled into the Visual Arts programme at the TA Marryshow Community College. I was successful at CAPE and passed both year one and year two examinations. After which, I taught Visual Arts at the Grenada Boys Secondary School for about a year and a half and then I went into doing art on a full time basis, doing mostly portraits which I have grown to enjoy. I also enjoy doing still life. Art is my passion and calling in life and I would not trade it for anything. According to my friends, I have found my niche.
2017: Grenada Arts Council St. Georgeâ€™s University Pop-Up Art Show
Artist Statement The works shown
were completed over a period of fifteen years, and portray a keen observation of village life. Her sensitivity to the human spirit is felt when viewing the works.
Marie Messenger is a long time resident of Grenada, and has perfected her self-taught rake ceramic practise over many years.
Maria Messenger has represented Grenada in exhibition in far places such as Korea, the USA, and Trinidad.
My artwork depicts an unabashed female figure seated over the land and sea in a classic figure drawing pose. She is unique and different from anything around her, and in that way an alien. To embrace each other as aliens belonging to many different foreign nations is WestIndian.
Biography LaVanda works primarily
in cyanotype and mixed media, and often uses found objects in her work. In 2016, she began instructing art for children and adult learners at the alternative art school, Art School Greenz. She resides in Grenada in the West Indies with her husband who is a medical illustrator for St. Georgeâ€™s University.
2017: (solo) Contact Lens, Susan Mains Gallery, Grenada GAC and Grenada Chocolate Festival Arts Pop-Up Show, Grenada GAC Pop-Up Show, Spiceland Mall, Grenada 2016: Rhythms of Spice, Grenada Arts Council Pop-Up Show, Grenada Chocolate Art Exhibit, Susan Mains Gallery, Grenada Grenada Arts Council, Pop-Up Show, Spiceland Mall, Grenada 2013: (solo) Auditorium Gallery, City and County Building, Broomfield, Colorado Art Pile, Sherman Art Studios Deer Pile, Denver, Colorado 2012: Heritage, Oâ€™Sullivan Art Gallery, Denver, Colorado 2011: Our History, Our Strength, Dayton Memorial Library, Denver, Colorado 2007: (solo) The Main Street Grill, Windsor, Colorado 2006: (solo) Coffee on the Lowell, Denver, Colorado 2004: (solo) Regis University Writing Center, Denver, Colorado
Deconstructing and reimagining my personal connection to plastic has become an integral part of my creative processes. This piece refers to my personal human footprint on the West Indies, as a visitor. Islands are fragile eco and socio economic systems. They rely heavily on tourists for income, but sadly that often comes at great cost to the environment and to the most vulnerable in the communities as they tend to live close to waste disposal facilities where much of the waste is burned and seeps down into the ocean. The toxins that are thrust into the air and waterways make people very ill, aside from the impact on the ocean and marine life on which we depend for sustenance and tourism . As an artist it is important, to me, to reflect the times we live in and use the materials available, particularly in creative resource scarce places, like islands. This piece is called Fragile 1.5 and depicts a carnival of plastic that has been intercepted in the waste stream and reimagined. Fragile 1.5 refers to the Caribbean 1.5 to Stay Alive plea at The Paris Climate Accord and the critical need to hold big footprint countries accountable and focused on achieving this goal.
Ingrid Newman studied Fine Art Painting at Nelson Mandela Metropolitan University, in Port Elizabeth, South Africa. She sculpts in both bronze and ceramic and has worked as an illustrator, materials developer and writer for an education NGO. She has illustrated a childrenâ€™s book about Pitch Lake, called Ice Age Trinidad, as well as The Caribbean Cookbook, both authored by Danielle Delon from Trinidad.
Exhibited for several years at The Grahamstown Festival Member of the Eastern Province Fine Art Society 1983: Awarded the ABSA Atelier, New Signatures Bursary
Artist Statement The installation is
a stretch of a manâ€™s dhoti that has been punctured with incense sticks to create the pattern of the jharokas. I am metaphorically trying to make holes and burn down the diktats made for women in a male dominated society. My installation is a multi layered effort to make the audience realize the life of a woman who is restricted physically, emotionally as well as mentally.
After completing my education, I have trained under various renowned artists. I currently own an art gallery in Pune, The Paint Box, where I teach art and hold art related activities.
The beautiful Jharokas that are seen in the fort were a form of a screen through which the womenfolk could observe the goings on in a one dimensional manner.
2017: (solo) MalakaSpice, Pune (solo) PNG Gallery, Pune RareMandi IAF, Mumbai Part of Indian Delegation at Bhuvneshwar Pun Biennale, Pune West Ten Gallery, Mumbai Kalacare show American Consulate, Dehli 2016: ICAC Opening Show, Mumbai Hotel Leela Pents, Banalore Connoisser Art Show, Bangalore 2015: (solo) Kalagram Art Gallery, Pune 2014: (solo) Brush Strokes Art Gallery, Pune
This work is a statement about the labourers who chisel lines individually into sandstones every day for most of their lives. They inherit the work from their fathers and are lucky to survive beyond their 40s. It seemed poetically ironic that as they carve the lines, while lines and ridges from their own palms diminish, literally as well as metaphorically. Though the site was the majestic historic Mehrangarh Fort, it was the labourerâ€™s quiet sense of pride in their small contribution/sacrifice to the heritage of the Fort that was evocative and humbling.
Rekha Sameer is from Mumbai, India. She lived in Singapore before moving to the UK in 2000. She completed her Foundation Art in Bucks New University and went on to study BA and MA Fine Art in Central St Martins College of Art and Design, London. She has completed a PGCE in Learning and Teaching at Higher Education through HEA, England and ex-Fellow of the Royal Society of Arts, London. I am a site specific conceptual artist and work with multiple mediums including video, sound, clay and fabrics. I derive my subject from contemporary social and political concerns. The majority of my video work and installations are based on everyday life in the community and the viewer in many ways completes the work. I am primarily concerned with the relationship of individuals to one other and to society as a whole. My art practice is underpinned by a simple ethos, that of transfering an emotion to the viewer.
TRIO Biennial, Rio de janeiro, Brazil Residency, Jodhpur, Mehrangarh Fort, Rajasthan, India PASSport Britannia, Safehouse 1, Peckham Rye, London 51% Remember Her, Memorial Church, Barking, London Chinese year of the Rooster, Q Park, London
The concept is the landscape of the sacred rock before the fort was built as we witness the birth Sunayna. There are symbolic elements in the painting that is open to interpretation. I am fascinated by the mythology of India and how that is still a part of life here. Garden is symbolic of heaven nd sky has been the image that remains with me from looking at Jodhpur skyline from the roof at Meranrgarh Fort. This miniature has been inspired by many beautiful Indian art works in the Museum. The idea of creating a modern version of these Indian art works has been a crucial. The work has feminist undertones the concept of woman as the Mother Earth the giver of life born to earth.
Soheila Sokhanvari is a British/Iranian artist, born in Shiraz whose multimedia work cultivates a non-uniform practice. She is drawn to events and traumas that linger in the collective consciousness or cause mass amnesia. Sokhanvari left Iran in 1978 and her work focuses on the politics of pre-revolutionary Iran of 1979. In her Iranian crude oil on paper drawings faced with political events and traumas of contemporary Iranian politics that are impossible to represent,
she plays with meaning and materiality by allowing the medium to carry the political message, where oil rich countries negotiate and battle for democracy and liberty but at a human cost. Her paintings employ the traditional technique of egg tempera on vellum by grinding colour pigments and so slowing down the art making process, which in the light of the Duchamp’s statement “Since the tubes of paint used by the artist are manufactured and are ready made products we must conclude that all the paintings in the world are ‘readymades’ and also works of assemblage.” So these paintings function as an “anti-readymade”. She is interested in the practice of magic realism, symbolism and allegory that allows political and social commentary through poetry, metaphor and subtext. Magic realism being the most useful tool that allows slippage in meaning that resists the totalitarian discourse of all kind and in the East, has its roots in the Persian medieval text “One Thousand and One Nights. Employing calf vellum in her paintings and drawings functions as a symbolic gesture; calf representing the animal that is sacrificed in all monotheistic religions becomes the symbol of the sacrifice of the individual and the artist.
The still-lifes salute the 16th century painter Spanish painters. I have put my own individual Caribbean twist on them! My paintings depict West Indian foods which we enjoy throughout all the islands.
Keen on art from school days, I pursued Fine Arts at The Barbados Community College; after which, I studied Interior Design at the International Fine Arts College in Miami. My Interior Design career spans nearly 30 years. However, in 2015 a deep interest in fine art began to blossom and then flourish when I attended the National Cultural Foundationâ€™s En Plein Air Workshops which were tutored by Barbadian artists. With painting as my passion, I have had the privilege of participating in outdoor sessions with the Neville Legall, Glenroy Jordan and the late Fielding Babb.
The Crane Resort Art Gallery The Gallery of Caribbean Art in Speightstown The Barbados Arts Council
Artist Statement An image of a baby doll, dragged by a chain, has haunted me since I captured it at the 2016 Carriacou Carnival J’ouvert. Representing the cut chains of Colonialism in the WestIndian island’s past, these chains brought to mind the chains I personally cut when we found our WestIndian Island, Carriacou! My chains of fierce competition, striving for success, greed and the complexities of Los Angeles are gone and replaced by respect, sense of community and simplicity filling each and everyday.....the true core of “WestIndian”!
Biography The dream vacation……
no golf courses, high rise condos, casinos, jet skis, just deserted beaches, aquamarine seas, palm trees swaying, a friendly mornin’ mornin’ along Main Street and passing out for two hours from the Jack Iron in your pina colada! Why wouldn’t we retire early to Carriacou …..escaping an easy two hour commute to work in L.A., endless business flights on Monday morning, only to return on Friday night! Definitely searching for a sense of COMMUNITY! Found, with many layers of icing atop, not limited to respect, love and a innate passion for life which is truly WestIndian!
1996-2009: Senior Vice President, Marketing & Advertising Macerich, Santa Monica, California 1986-1996: Vice President, Marketing & Advertising PREIT, Philadelphia, Pennsylvania
I moved to Germany about ten years ago… I began my formal art practice when I finished at the John S Donaldson Technical Institute design programme. Although I may be far from home, switching off my feelings of concern is not an option for me. I always pay attention to how we treat our environment and communities. My latest works combine the worlds of past and present. I am revisiting my past and bringing it into my present experiments. Showing the reality of T&T’s 2017social collapse is important to me — dealing with these problems is the start for finding a way to solve it.
2017: 2016: 2015:
Academy of Interdisciplinary procces Offenbach am Mains, Germany, Offtopia Wall Collage, Black Sea, Romania Bloody Republic, Alice Yard, Trinidad Cheecky Chong and Fan
These pieces imagine a Westindies without thingification and instead explore nature and the relationship between humans and ‘pure Grenada’. Similar ecosystems with common plants, fish, and animals unite disparate islands. From the rainforest to the reef, we are surrounded by a unique natural beauty that exists in few other areas of the world. It is essential that Westindians come together to protect biodiversity and ensure that it continues to flourish for future generations.
Katie Yost is a medical illustrator at St. George’s University. In her free time she enjoys snorkeling, hashing, and ultimate frisbee.
2016: Association of Medical Illustrators Salon
Jude V. Nixon
Essay from The Surplus of Culture: Sense, Common Sense, Non-Sense
Jamaica Kincaid is the only West Indian novelist to attend closely to the plight of the indigenous Carib, after whom the region is named. Nowhere is the plot of this deracinated, displaced, and destroyed people so dramatized as in The Autobiography of My Mother (1996), where disparate versions of the authorial self (“my life with her”) and its Carib ancestry enact the pathologies of that history. Although key protagonists in other novels, such as the eponymous Annie John and Lucy, trace their heritage back to the Caribs, Xuela Richardson is in direct line; her mother is Carib. So fundamental is the Carib plot that as the novel ends, Xuela and her English husband Philip return to the motherland, to the Carib reserve in the hills of Marigo and Castle Bruce, far from the madding crowd of Roseau, which Xuela had earlier anticipated in a dream. This essay, ‘[A] vanishing people’: The Carib and Kincaid’s Carib-bean in ‘The Autobiography of My Mother,’ addresses the Carib presence in the novel and the way it mirrors their absence, their erasure. Demanding an explanation, Kincaid discovers that she does not posses “the luxury of an answer.” Ultimately, a sense of justice is what the Kincaid and the novel demand.
Dr. Jude V. Nixon is Professor of English, former Dean of the College of Arts and Sciences at Salem State University, and habilitated Professor in the Polish Academy. His teaching and research interests are Victorian literature and culture and Anglo-Phone Caribbean literature. Professor Nixon is author and editor of Gerard Manley Hopkins and His Contemporaries: Liddon, Newman, Darwin, and Pater (Garland, 1994), Victorian Religious Discourse: New Directions in Criticism (Palgrave, 2004), Science, Religion, and Natural Theology (Pickering & Chatto, 2011), and The Sermons and Spiritual Writings of Gerard Manley Hopkins (Oxford, 2018). Dr. Nixon has authored numerous publications on the Victorians, especially on Gerard Manley Hopkins, John Henry Newman, Thomas Carlyle, and Charles Dickens, which appear in such journals as Victorian Poetry, Nineteenth-Century Literature, Texas Studies in Literature and Language, the Carlyle Studies Annual, the Dickens Studies Annual, Renascence, Studies in Browning, Times Literary Supplement, and The Hopkins Quarterly. Dr. Nixon holds membership on the editorial boards of Victorian Poetry, the Dickens Studies Annual, The Hopkins Quarterly, Aracne (Rome), and the based journal English Literature (Venezia, Italy), and Centro Universitario Di Studi Vittoriani E Edoardiani (CUSVE), (Chieti, Italy).
Susan Mains Gallery Launches 4th Annual Grenada Contemporary Exhibit by Asher Mains
If there has been a singular visual art event in the last 5 years that has not only grown exponentially but also serves to catapult local artists into international attention it is the Grenada Contemporary exhibit hosted by Susan Mains Gallery. The evening of Friday, October 27th, at Spiceland Mall, people were met with the beating of drums, never before seen art, and that feeling – the feeling of creative critical mass. There was palpable convergence of artists, communities, and countries in this #grenadaartisland, an environment that can be described as an incubator of creative expression. Working with the curatorial theme, “Westindian”, artists imagined and expressed a wide range of experiences relating to the idea of a regional “oneness”. The event spilled out into the halls of the gallery and with the drummers from Upper St. John present, the whole of Spiceland Mall for the evening, was fixated on the pulse that Susan Mains Gallery was generating. The drumming of Godrey Luke and the children of Ashanti Footprints may have been many’s first encounter with the exhibit and there couldn’t have been anything more appropriate. The sound of the drums were pre-Westindian, the history of the West Indies and the West Indies right now. Godfrey Luke is also a sculptor; his figures made of found objects greet visitors to the gallery and they too span time and space. The combination of materials Godfrey uses span a Grenada (and West Indies) that was, that is, and what may be. Also from Upper St. John, Judy Antoine read a few pieces of the poetry she wrote and despite there being a lot of people, despite it was in a big hallway at Spiceland Mall, Judy Antoine was mighty. Brene Brown says about vulnerability, “Vulnerability sounds like truth and feels like courage. Truth and courage aren’t always comfortable, but they’re never weakness.” Judy Antoine, voiced things in her poems that people only whisper and Judy Antoine was the strongest person in sight.
Also before you even get into the gallery itself you see Rene Froehlich’s work, his fibreglass figures evolving at every exhibit and Ingrid Newman’s work. Newman, from South Africa has settled in Grenada and made a beautiful chandelier piece that uses plastic refuse and naturally occurring material. Her treatment of the plastic was like lace in some places and was easily one of the most exquisitely executed pieces made from plastic and “trash” that we’ve seen. Oliver Benoit’s “confessional” piece in the middle of the gallery also attracted a lot of attention. The confessional itself is a commanding presence, a proverbial “elephant in the room” and mature audiences are invited inside to hear harrowing stories fed in through the confessional screen. These stories are all too common and one of the less than positive commonalities in the West Indies… putting us in the position where we are hearing them provokes the question, can we forgive? Who can be absolved? With 30 artists represented, the show continues to offer more perspectives on the theme of “WestIndian”. In my opinion, being Westindian is an exploration into what it means to be fully human. Not only in reaction to a colonial history but also as a region that does not invest in standing armies and in many ways is very socially advanced. If part of being WestIndian is being fully human, it opens our audience to look at the human experience of the artists from India, Iran and every hyphen identity that exists in the show. Grenadian-American, British-Grenadian, American-living-in-Grenada, can be subsumed and interpreted not under nationalistic standards but in response to a call for imagining a better way of being human. This brings Susan Valentine’s work into close proximity with John Henry’s and Roxanne Marquez-Augustine’s work in relation to Lavanda Mireles’. This “ness” of being Westindian creates a captivating rhythm between Rekha Sameer, Asher Mains and Jessica Holland’s work – strangely familiar, anatomical and natural. Ultimately it’s up to you, the audience to come and see all the pieces and experience the 4th Annual Grenada Contemporary for yourself and draw your own conclusions!
by Alister Hughes, Journalist and Poet, 1919 – 2005
In Donovan’s tracks then came Ted Marryshow His dream was that we had just one way to go One country, Westindies, division he’d ban One nation, one people, Caribbean Man ···
Let’s shake off inertia, let’s find a new birth,
Let’s lift our heads high, recognize our own worth, Our future awaits with unlimited span
Awake and move forward, Caribbean Man
Catalog design by Amy Cannestra Âˇ email@example.com
Published on Nov 11, 2017
Published on Nov 11, 2017
A relatively young annual art exhibit, Grenada Contemporary, hosted at Susan Mains Gallery has been growing rapidly; this year showing the w...