April 2013 Arts Events Magazine Barbados

BARBADOS ARTS EVENTS

March 2013

Welcome to Barbados Monthly Arts Events This is a completely free and unsponsored magazine created out of the need to inform so that we can get to exhibitions, artist talks, workshops and more, rather than hearing about events after they have taken place.

I encourage anyone with a creative event or a new piece of work to get in contact with me at corriescott@gmail.com and I will add a free page for you.

Let’s get the arts out there!

Please, pass this magazine on to others and so help the creative side of Barbados get all the exposure possible.

Corrie

Cover Art by Corrie Scott

All information correct at time of publishing.

Please phone or email relevant galleries to confirm dates of events as they may be subject to change.

Updates as news of arts events comes in each month may be viewed on http://corriescott.net/page28.htm Published by Corrie Scott

corriescott@gmail.com

www.corriescott.net

Back Issues of the FREE monthly

Arts Magazine Barbados may be found on http://issuu.com/corriescott/docs

‘Carpentier in Barbados’ Art Exhibition Grisel Pujalá, Curator.

Leandro Soto, Visual Artist. Mario Porchetta,Photographer.

Errol Barrow Centre for Creative Imagination (EBCCI) For viewing the exhibition please contact Leandro Soto at sotoananda@gmail.com Online album of some of the work https://picasaweb.google.com/105714821715531443977/CarpentierInBarbados

The Arts Directory Barbados http://issuu.com/corriescott/docs/art_directory_barbados_dec_2011/1

ARTS DIRECTORY BARBADOS How It Happened I have, for so many years, wanted to create a free online reference book where anyone, in any part of the world, may access the creative people in Barbados. I could not do this on my own and Kathy Yearwood heard of my idea, offered to partner with me and I happily agreed.

What started out in March as a small book of what I thought might be a maximum of one hundred and fifty pages turned into a tome of over three hundred pages. A mixture of excitement and fear at what we had taken on. And here we are in December 2011 with a book showing off the talents in Barbados. So exciting.

The eight month adventure began. Finding artists, photographing them and their work. From March 2011 to October 2011 Kathy and I collated the artwork, the bios and statements and travelled around the island garnering images and information.

Large collections of artwork in homes. Convincing people who thought they were too old and forgotten and watching them smile as their work was photographed and having them talk about themselves so that we could create a bio for them. Literally slipping down the hills of clay at Chalky Mount to see an original kiln and spend the day with the potters. Temple Yard with the Rastafarian community where they are blessed with talent, especially carving, and then coming away with gifts of pineapples and avocados. Photographing in the rain with an umbrella in one hand and a camera in the other to get the right angles. Going to openings and craft shows and talking to many. Coming to my home, going to Kathy’s, and going wherever was needed. Meeting the different personalities in so many locations as I photographed many of them for their portrait photo for the book.

Remembering some who have left us. A labour of love, learning and fun.

The thank you part as I could not have done this on my own. Norma Springer who encouraged me to “take the book and run with it”. Kathy Yearwood who offered to partner with me collating and to create the book for artists in Barbados. Alison Chapman-Andrews for helping Kathy and I proof read. Amazing how much you miss no matter how many times we went over it. Sue Bain for offering her professional opinion and suggestions as a copy editor. Peter Boos for all the encouragement. Laura Lin Hutchinson for her introduction. Finally, the most important people, the creative souls who put their trust in Kathy and I to show them off to their best. I hope we have done this.

Corrie Dec 7th 2011

'Ship Of Fools' Division of Fine Arts Faculty Exhibition.

March 7th - March 22nd, 2013 Morningside Gallery, Barbados Community College CRISIS AS CONDITION: Reflections on Barbadian art now a review by Therese Hadchity Online album of exhibition https://picasaweb.google.com/105714821715531443977/ShipOfFoolsBCCBarbados2013

LILIAN STEN www.lilianstenartstudio.com

EWAN ATKINSON ewanatkinson@caribsurf.com

ELLON LEWIS ellon_l@yahoo.com

ANNALEE DAVIS

www.annaleedavis.com

RUSSELL WATSON russanthonywatson@yahoo.com

ADAM WERTH

aawerth20@aol.com

SHEENA ROSE bajanrose27@hotmail.com

CHERISE WARD

www.cherise.ward.com

ISHI BUTCHER ishi@caribsurf.com

ADAM WERTH aawerth20@aol.com

AKYEM art_animal@yahoo.com

CRISIS AS CONDITION: Reflections on Barbadian art now.

According to the blurb which accompanied the e-invite to this year’s faculty-exhibition at the Barbados Community College ‘..quite a few of your local favorite artists have gone through an evolution, and definitely not in a predictable direction …’. The opposite claim could, however - though not for altogether bad reasons - be made for some participants in this show, which carries the darkly humorous title ‘Ship of Fools’.

The bi-annual faculty-show features works by visual arts tutors attached to the college and thus temporarily reverses the familiar role-division between teachers as ‘critics’ and students as ‘respondents’. Whether the fewer-than-usual submissions of this year’s show means anything in itself, the works on display not only (as could be expected) reflect aesthetic divergences, but also what, at least to my mind, registers as a troubled encounter between two generations with entirely different perceptions of what art should do. The overall impression is of a crisis of confidence at many levels, of fatigue, self-doubt and perfunctory gestures in one camp, and perhaps – though it may be too soon to say - excessive caution in the other.

Of the twelve artists featured, four are new to this forum and can be described as ‘emerging’. If, as I believe, the submissions by these artists - with one exception - are indicative of a more general tendency, their focus on abstraction, imagination and private reflection is significant. Tara La Motta’s arrangement, in Seven, of twigs and sticks as ‘driftwood’ being drawn into a whirlpool aggregating around ‘rafts’ of tiny sea-eggs is a deft and pleasing meditation on nature and on the contrast between natural and man-made structures. With its helmeted Janus-head and deceptive sweetness, Cherise Ward’s intricate and colorful fantasydrawing Battle Cry seems to allude to the contradictory forces which are negotiated in fairy-tales and in the human subconscious. The head is divided into the living face of a warrior and a skull, which poetically spews out a flock of hummingbirds and thus seemingly encourages a less rigid or oppositional perception of life as fertile and death as finite.

Emma Chapman’s Time of Death is a wooden box, divided into two compartments. At one end, we look through a glass-window into a shallow empty space, with nothing but the image of a clock on the opposing ‘wall’. At the other end, our view is filtered through a thin, white-painted sheet of brass gouged into the lacy pattern of a paper-doily, which also, when seen from a distance, resembles ornamental building-blocks. Behind this screen is a delicate, old-fashioned tea-cup – a treasured heir-loom of someone deceased, perhaps, but more than an epitaph, the box seems to be a Proustian reflection on existence, memory and time.

If these well-crafted, poetic and contemplative works are representative, they suggest the loss of a collective and politicized scope in emerging practices, and thus a departure from the endeavor to advance or critique a high-stake post-colonial agenda, which the older generation brought to their work. Whether this turn-about reflects that generation’s legacy of unfulfilled ambitions and compounded frustrations – to which the exhibition amply testifies or simply a different kind of ambition is, to my mind, the most potent question raised by this exhibition.

Meanwhile, the fourth of the younger artists, Sheena Rose, seems to occupy a space in-between – a space, where the absence of communal truth-narratives frustrates a lingering awareness of art as social critique, and thus inevitably returns the focus to the subjective and experiential domain or diffuses it altogether.

Too Much Make-Up is a diptych consisting of two crudely drawn female heads with exotic necklaces and conspicuous splotches of red and blue make-up on eyes, cheeks and lips. Like the simplified images of poster-art, they are placed on solid red and orange backgrounds, and each carries a horizontal text band stating, respectively: ‘she got she face like a duppy’ and ‘cheese on you see that girl’s face?’ What therefore immediately registers with the viewer is the image of someone suddenly becoming conscious of herself. Showing us, often touchingly, the production of the self in the meeting with the other, is arguably Rose’s particular strength. What the piece – at least when detached from the series to which it belongs - does not quite support is the somewhat nebulous and potentially reductive claim (which only surfaced during the artists’ talk) that it examines the Barbadian vernacular as a vehicle for ‘gossip’, which in turn is held up as a particularly Barbadian trait.

Ambivalence at an altogether different level, however, also registers in the work of Ras Akyem. The large masturbating male which occupies the entire left side of his Made in the Third World (IV), can thus be read as a statement about the pointless and self-indulgent activity art becomes unless it is met with due reception: seeds (or semen) dropped on infertile ground. The painting is replete with Akyem’s familiar iconography and as always presents a battleground between the rulers of ‘empire’ and its unruly waste: the negro/rude boy/gangsta/third world-sufferers as the recurring martyrs of Euro-American civilization. This message, articulated with increasing forcefulness, has been at the heart of Akyem’s oeuvre for over two decades. Its constant reiteration should however not merely be interpreted as a sign of stagnation, but rather as ‘turning up the volume.’ Since the project of transforming art from affirmative representation into a form of critical engagement – or more simply put: of getting people to take art seriously by giving them serious art - which was the thrust of Akyem’s early career, has yielded no substantive result, the time may, however, have come where the figure of the great masturbator can only be read as an ironic self-portrait.

Akyem’s demonstrative repetition of certain themes and motifs signals the perception that the ‘case’ is still open and the problem unsolved. This subtle protestation, which comes at the cost of being perceived as avant-garde, is even more evident in the oeuvre of Winston Kellman, whose only motif for decades has been sketches, drawings and paintings of the Barbadian landscape – works which in recent years often have grown larger and more insistent, as exemplified by the exhibition’s large charcoal-drawing from the Mud and Flowers-series. Kellman’s broader project has been that of coming to terms with Barbados as a historical, contemporary and material entity - with the landscape’s inscription of loss and fragmentation, with its hidden and tangled complexities, and indeed with the aesthetic options available to the Caribbean artist. However, the constant accumulation of similar works - hundreds, if not thousands – produces a material reality in its own right and the practice thus becomes more than a compensatory activity, it becomes a discrete, but tangible presence-in-the-world.

With its crucifixions, stigmata, a pastiche of Michelangelo’s hand-of-the-creator (which may be that of God or of the artist) and the mono-cycling artist/angel/yam-head, Akyem’s second painting,Medici-Blues, likewise reverts to the proposition of art not only as a means of overcoming a history of loss and oppression, but as symbolic redemption – but also to the frustrations of the third world artist without patrons or institutional support. In contrast to the wry pessimism of Made in the Third World (IV) the big white space around the images here may, however, not only indicate compelling absences, but leaves open new possibilities and a history yet to be written. If Akyem’s (like Kellman’s) persistence in itself has become the central point of his activity as a painter, his three-dimensional works – less restricted by a firmly cemented vocabulary – retain the humor and ability to surprise, which was typical of his earlier paintings. With its re-cycled material and visual puns Precious Cargo is thus at once a commentary on the enduring Middle Passage and a subversive performance in itself.

Like Ras Akyem, Annalee Davis belongs to a generation for whom art, in Robert Hughes’ famous phrase, is ‘nothing, if not critical’ and, in the context of her oeuvre, her installation Sweet Island Cookie Cutter – Sweet Fuh So takes a familiar stab at the promotion of Barbados as a consumer-product. The installation consists of seven shallow wooden boxes displayed in two rows like goods on a display-table. Each well-crafted box contains a custom-made cookie-cutter shaped as emblems of island-life (cocktail-glass, polo-player, palm-tree etc.) and lined with ‘grass’ (suggesting golf-courses) with the ironic subtext that ‘we can be anything you want us to be’. Though in sympathy with the artist’s residual social and environmental concerns, the message is, to my mind, somewhat undermined by the cleverness of the presentation, for if the underlying statement is that Barbados is a far more complex place than these sugary images suggest, there is no gesture towards ‘substance’ beyond these signifiers (were it even in the form of an unopened box), and no ‘gritty remainder’ after the viewer’s inevitable ‘aha!’ – and the message is therefore at risk of being as easily consumed as the image of the island itself. The critical – if invariably embattled scope of oeuvres like Davis’ is, however, a characteristic, which may soon inspire a certain nostalgia.

Russell Watson’s equally clever and comedic video-installation Partly Faithful indeed revolves around the collapse, if not of previous convictions, then of faith in those appointed to ensure their application. It features two nearly identical male characters (both brilliantly played by Andrew Pilgrim) – politicians eager to ‘out-talk’ one another in a tv-debate, but neither saying anything but ‘bla bla bla’. Each persona moves through a cycle of facial expressions, evolving from the affable and ingratiating ‘election-smile’, through growing frustration with the other’s performance, and culminating in an escalating shouting-match. However, whether Watson really (pace Aristotle) seeks to use humor as ‘an instrument of truth’ in uncovering the meaninglessness of (Barbadian?) politics, or, more subtly, to dismiss the absolute truth-claims of politics in favor of the relative ones of art, remains unclear.

If the works of Watson, Davis, Akyem and Kellman in different ways are underpinned by a sense of crisis, Ras Ishi’s Untitled painting yields yet another perspective on this matter. The motif is four nearly identical and slightly overlapping outlines of a young, naked (but for the high-heeled shoes) and well-shaped woman. Her hip is pushed to one side, arms raised with hands meeting at the apex above her head as if she is dancing or posing: a go-go dancer or an artist’s model? Multiple diagonal lines resembling a dress-maker’s pattern crisscross the canvas in all directions and thereby evoke the ambiguous space in which the figures exist. Two small, unpainted ‘windows’ baring the canvas below (and a small scale model of the nude) inexplicably interrupt the motif. This uncharacteristic piece offers no narrative or interpretive guidelines and it most of all seems like a painter’s ‘fingerexercise’. Yet, it reminded me of Roland Barthes’ observation that times of crisis tend to generate a new appreciation of skill in society. If this extends to the artist, the enormous bodies of work Ishi has produced in the last decade may indeed have induced a crisis of expectations and therefore a compulsion, on the part of the artist, to re-tool and regroup, and indeed exercise a hard-won skill.

At the centre of the first exhibition-room is Ellon Lewis’ similarly enigmatic ceramic pieceObeisance of Thraldom.

This non-representational object, made up entirely of earth-colored fragments, seems to depict an angular ‘body’ with a long, slender ‘neck’ protruding at the top. Bands of green, resembling ribbon or tape, are painted on every side of the surface, and create the simultaneous impression of something tied up and un-free and something broken or brittle being held together. As an allegory of bondage and its enduring effects, the object’s elusive form (with its liberated, inquisitive ‘off-shoot’) coupled with its material density manages to avoid the trivialization so often produced by this subject-matter and to create a curious and compelling image of the continued aspiration for freedom.

Those who remember Adam Werth’s conceptual works from previous faculty-exhibitions may in his trajectory find compelling evidence that the Caribbean is a space, where the political invariably catches up with us all. His contribution juxtaposes two individually titled works: on the wall isPlease use a subjective, non-white, masculine western point of view when observing - a very large drawing of a black male head (it is in fact a portrait of Winston Kellman); and, on the floor, Die-dentity: Deconstruction of a Negro Head...

– a pedestal displaying a plaster-scull (ostensibly intended to remind us that ‘blackness’ is no state of exception to mankind in general) placed atop a mound of charcoal (representing soil). At issue here is the vexed question, whether black art aims – or should aim - at cultural separatism or at absorption into the ‘universal’ mainstream.

This question (which was approached from a different angle in Akyem’s Medici-Blues) is not only writ large across the Barbadian art-world at this time, it is an acutely relevant question, which any resident or visiting observer sooner or later is bound - and entitled - to ask. When I still find the piece to be ethically imbalanced, it is not just because of its erroneous assumption, that the formation of a Caribbean, black or ‘non-western’ canon is a matter of choice and self-declaration only, but also because the error exactly reflects the inquirer’s own privileged (and indeed undeclared) position as a white, non-Caribbean person whose access to the contemporary mainstream (in principle) is a matter of choice. The question, therefore, is not whether Caribbean artists should aim at the metropolitan contemporary, but what the cost of inclusion may be. All the same, whil Werth’s piece may (not the least because of its defiant titles) register as more provocative than intended, it does address an issue, which ought to be under fervent debate at an institution like this Community College.

Ewan Atkinson’s two photographs Bubaups/Mother Sally. Private Audition are, however, unquestionably among the most direct, uninhibited and arresting works ever exhibited in Barbados. Void of the coquetry and deflective humor of the earlier oeuvre, these pieces – which feature the artist dressed up as a distinctly male, self-fondling ‘Mother Sally’ (with phallus, black mask, blood-red lipstick and beard) - tackle the fact of cross-dressing and homo-eroticism head on. The artist’s simultaneous self-exposure and vulnerability (features rarely encountered so directly in Barbadian art outside the work of Nick Whittle) and the general violation of bourgeois sensibilities at once renders the viewer voyeuristically complicit and defensive - the latter sensation is effectively reinforced by the fish-eye perspective. These works turn the presumed status of the cultural as public and the sexual as private inside out, but also, thought-provokingly, identify a role performed as an expression of the private and ‘authentic’ self. Thus, if the majority of works in this exhibition are marked by frustration, willful repetition and by the absence or implosion of great ambitions, these pieces assure, that art can yet be both transgressive, complex, disturbing and project a truth of sorts.

It may be incidental, but is nevertheless compelling, that Lilian Sten, the exhibition’s most senior artist – and someone whose work, including the two included here, has suppressed the political in favor of an individual search for archetypal or metaphysical essence – should seem more in sync with the exhibition’s younger artists than with the generation in-between. It is no less compelling, that the title of her small mixed media piece, Ride the Storm, should appear to make a collective statement about the hopefulness, which has motivated Barbadian artists for the last three decades. Judging by this exhibition’s underlying tensions, however, they have finally adjusted their optics: what seemed like a passing storm now looks more like an inescapable condition.

Therese Hadchity, March 2013

HEATHER-DAWN SCOTT https://picasaweb.google.com/105714821715531443977/HeatherDawnScottRecentArt#

CORRIE SCOTT

www.corriescott.net

VERSIA ABEDA HARRIS versheen@gmail.com picasaweb.google.com/105714821715531443977/VersiaAbedaHarris2012

TERRENCE R PIGGOTT

galerienuedge.com

GORDON PARKINSON Much of the late Barbadian artist Gordon Parkinson's work hangs on the walls of collectors worldwide. The precursor of the art movement on the island, he was a founding member of the Barbados Arts Council, the first to receive The Nation Publishing Co. Ltd. Lifetime Achievement Award for Art. Born in Trinidad, Parkinson spent some 20 years in Venezuela before returning to the home of his ancestors, Barbados. He was a prolific artist whose medium was anything that would bring colour to the palette - oils, acrylic, watercolour, pastel, charcoal, pen & ink, pencil, even berries from local trees; his canvasses from board to paper - whatever he could express himself on - bearing subjects from stunning portraits to unconventional nudes, from rolling seas to cololurful boats, dabbling in expressionism when he saw fit.

One of his major pieces hangs at Balls Horticultural Society."Any and everyone can produce art" was his motto.

Contact his daughters for viewing: Rosemary Parkinson 1(246) 264 7448 email: rosemaryparkinson2004@yahoo.com Laurel Ann Morley: Gordon Parkinson Gallery, The Cove Restaurant, Cattlewash.

Phone: 1 (246) 437 4456 or 433 9739

GORDON PARKINSON

GORDON PARKINSON

GORDON PARKINSON

GORDON PARKINSON

GORDON PARKINSON

UNESCO AWARD OF EXCELLENCE IN HANDICRAFTS DATE: Wednesday, 13 March, 2013 VENUE: Ministry of Family, Culture, Sports & Youth; Haggatt Hall SUBJECT: Thank You Speech BY: Russell Watson on behalf of his mother Roslyn Watson Beauty. It is one of the most valuable things I have learned from my mother; a deep and resolute appreciation for the inexhaustible beauty of the natural world. If an artist is tuned into this kind of beauty as my mother is, it is inescapable and the only thing you can do is surrender yourself to it.

But this surrender to the pursuit of beauty is not just some fanciful notion for her. Her early artistic experiments with natural materials were paired with a diligent commitment to industrial processes and functionality. It is this pairing of a purely aesthetic and a purely functional approach to art-making that yielded the objects UNESCO has chosen to honour her for today.

The base material of these place mats is the wooden spine of the coconut leaf otherwise known as coconut rib.

When my parents started working with this material it was used in Barbados primarily as bristles for brooms.

But once my mother got her hands on it and was able to experiment with it, all kinds of things came out. There were the mats that you see here, but there were also lamp shades, window blinds, chafing dish skirts and of course her distinctive wall hangings. Many of these hangings used woven coconut ribs as a central element and it was in this type of work that her creativity with natural materials found flight. My childhood is filled with these images, these art pieces that so sincerely responded to the landscape of our island.

As children, my brother and I would go out with my parents to the east coast beaches or wooded areas or pastures full of wild flowers and plants and be given free rein to discover and collect stones, leaves, berries, driftwood, shells, seeds - you name it - for her to use in her work. Her studio was full of these things in temporary arrangement that would change over time with the addition of new materials or a refining of the forms, and finally come together so seamlessly that you felt it was as naturally occurring a form as the original material she used. If you are exposed to that kind of sensitivity, especially as a child, it is a hard thing to shake.

For me, it is a constant knowing that guides not only my own art, but my life on the whole. For this I thank you Mummy and am honoured that you asked me to accept this award and speak on your behalf.

So, on behalf of my family, my brother Richard, my father John, who could not be here today but who was a constant partner in bringing this product to market and on behalf of my mother, my exceptional mother, thank you to UNESCO for this recognition. Thank you also to the folks at BIDC and the NCF for their ongoing support over the many years of her career, especially Chauntel Thomas and Sandra Brown at BIDC and Janice Whittle and Andrea Wells at NCF. Finally, it is my pleasure to announce today, that the NCF has graciously offered to mount a retrospective exhibition of Roslyn Watson’s work in December this year.

The big work of mounting this retrospective is locating the artwork. She has had 50 years as a working artist.

That is an astonishing volume of work. So we are asking the press here today to help us get the word out.

Please help us spread the word that if people have work by Roslyn Watson in their home or offices as part of a corporate collection please contact: Russell Watson 827 4843 rstudiolive@gmail.com

ROGER HANNANT

rogerhannant45@gmail.com

HEIDI BERGER in the landscape of my mind: new paintings Gallery of Caribbean Art Northern Business Centre, Queen Street Speightstown, St Peter, Barbados

(246) 419-0858 www.artgallerycaribbean.com

ALISON CHAPMAN-ANDREWS www.alisonchapmanandrews.net

VANITA COMISSIONG

www.onthewallartgallery.com

It is our duty as creatives to introduce our children to collecting original art. Art sparks their imagination, stories can be told from them about the subject, children can use their imagination to create their own stories or name the characters painted to make them their own. Children should also learn that appreciating art is a way of saving money...it is an investment. A painting does not lose value. I love to create Caribbean Children's art for all ages. I paint in acrylic on canvas in whatever size required. Hung separately or in panels that match together, they make wonderful visions for children. Murals for children are also special creating a wonderland in their bedroom or playroom.

Consultations on your special requirements are by appointment.

ROSEMARY PARKINSON Rosemary Parkinson just simply loves to paint. e-mail: rosemaryparkinson2004@yahoo.com website:www.rosemaryparkinson.com facebook: https://www.facebook.com/BarbadosCulinaryJourney?ref=ts&fref=ts#

ON THE WALL ART GALLERY www.onthewallartgallery.com

BRANDON BOURNE

brandon_bourne23@hotmail.com

MATHEW CLARKE animekonexpo.com/gallery/category/9/5/

RIVENIS BLACK http://rivenis.net/ www.facebook.com/rivenisart Prints Available at http://society6.com/rivenis

JOEL LAING ( DAVI-GO) davi-go.deviantart.com/

CHRISTOPHER WHITTAKER More art www.facebook.com/media/set/?set=a.515658401793176.143007.100000470625717&type=1

LAURALIN MAYNARD lauralinmaynard.daportfolio.com

KRAIG YEARWOOD kraigyearwood@hotmail.com

ERROL BREWSTER

errolbrewster@gmail.com

ANDRE WILLIAMS

www.andrewilliamsphotography.net

TIYI BY DESIGN Tiyi by Design is an exclusive Caribbean label, producing exquisite, hand-crafted jewelry.

Each piece is individually designed by professional metalsmith/jeweller, Ichia Tiyi. www.tiyibydesign.com

HUGH WALKER

hughwalk@gmail.com

http://art4life.zenfolio.com/

MARTINA PILE pilezahles@hotmail.com

TIMOTHY TROTMAN

timothy.trotman@gmail.com

RON LUCAS

Artlab178@aol.com

JOAN BORYTA

joanborytaart@gmail.com

joanboryta.wordpress.com

Queen's Park Gallery is temporarily located at Pelican Craft Centre #12 on Harbour Rd, Bridgetown tel. 427 2345

BARBADOS December 27 2012 - April 2013 Stavronikita Project, underwater on SS Stavronikita

www.thesinkingworld.com

CATHY CUMMINS cathy.coast@caribsurf.com

i k e

ROMAL JONES

artcrush@hotmail.com

https://picasaweb.google.com/105714821715531443977/RomalJonesAnimalTesting#

NIKOLAS SEALY nsdesigns74@gmail.com

www.facebook.com/pages/NS-Designs

The 1st Carrington PhotoAdventure workshop for 2013 begins on April 25th.

Change the way you see...for good!

www.barbadosphotographicsociety.com

THE BRIDGETOWN GALLERY @ SHERATON ‘Beautiful Barbados’ Group Show.

Opens Friday March 1st from 5pm to 7 pm Exhibition ends April 6th with work by Cathy Alkins, Stacey Altman, Hilary Armstrong, Arthur Atkinson, Allison Bohne, Jhan Browne, Anna Bysfield, Brian Carrington, Ronnie Carrington, Dave Chandler, Jacqui Cuke, Kirsten Dear, Anne Dodson, Susan Alleyne Ford, Gina Foster, Tanya Foster, Henry Faser, Shari Garnes, Mary gibbs, Jeanette Gittens, Barbara Greenidge, Susanne Heitz, Amanda Hunte, Susan Layton, Cheryl Lewis, Michael McChlery, Kay Morgan, Andy Perice, Leslie Taylor, Sue Trew, Yasmin Vizcarrondo, Hilary Warren, Rono Weekes, Lorna Wilson Sheraton Mall upstairs on the second floor, at the top of the escalators, across from the radio station.

12 noon to 7 pm Monday to Friday ( or by appointment) 230-1750 thebridgetowngallery@gmail.com

FRESH MILK is pleased to announce their local resident artists for 2013! Visual artist and animator Versia Harris, photographer Mark King, playwright and actor Matthew 'Kupakwashe' Murrell, and filmmaker Cabral 'LARC' Trotman who will be collaborating with spoken word artist Adrian Green. www.freshmilkbarbados.com

ON THE WALL ART GALLERY On The Wall Gallery at Champers A charming gallery and throughout the restaurant at Champers Restaurant, located on Accra Beach, Rockley, Christ Church has been fully renovated.

Monday - Friday Noon-4pm and 7pm-11pm . Please call for weekend hours. 246 234 9145 Champers gallery is accessible during Restaurant hours. Actual gallery operations are 12noon to 4pm and 7 pm to 11 pm all year November to April On The Wall Gallery At Earthworks Earthwork continues to be the mainstay of our operations as we continue to add new lines to our already eclectic mix of hand made crafts, jewellery and fine art.

Monday - Friday 9am - 5pm Saturday 9am - 1pm Closed Sunday Vanita Comissiong tel 246 234 9145 email vanitacom@caribsurf.com

www.onthewallartgallery.com

THE FESTIVAL ART GALLERY Hastings Farmers Market on the first Saturday of each month.

Horticultural Show at Balls 26th/27th January Festival Art Gallery is a mobile art gallery showing in excess of 50 local Barbadian artists who are painters, ceramic artists, photographers and sculptors. Bringing Art To The People kathymyearwood@gmail.com www.festivalartgallery.com

BARBADOS ARTS COUNCIL BAC Gallery, Pelican Craft Centre, Bridgetown (246) 426 4385 mail@barbadosartscouncil.com www.barbadosartscouncil.com

BAC Gallery Schedule 2013 (subject to change. Please call gallery to confirm dates and events)

March 17—April 12 Neville Legall & Friends Exhibition April 15-----May 11 Group Show Exhibition May 12-------May 25 Available for rental May 26-----June 8 Wayne Collymore Taylor June 9 -------July 6 Our Heritage Group Show Exhibition July 8-------Aug 16 CropOver Group Show Exhibition Aug 19-----Sept 1 Available for rental Sept 2 -----Oct 5 Little Gems Group Show Exhibition Oct 7-------Nov 1 One Love Group Show Exhibition Nov 4 -----Dec 13 Independence. Group Show Exhibition Dec 15------Jan 11, 2014 Christmas Group Show Exhibition

The Barbados Arts Council Gallery is available to rent for an exhibition at the heavily subsidized price of $150Bds per week during certain weeks of the year. If you would like to have your own show, either solo or a Group Show, please apply in writing to the President of the BAC. Pelican Craft Centre, Bridgetown +1 (246) 426 4385 mail@barbadosartscouncil.com

www.barbadosartscouncil.com

Beyond Publishing Caribbean is a group of artists, illustrators, graphic novels,graphic artists from Barbados and you can contact them or liking their page by click on the link, Matthew Clarke Tristan Roach Rivenis Black Julian Moseley https://www.facebook.com/pages/Beyond-Publishing-Caribbean/218731298152892?ref=ts&fref=ts

THE LEAGUE OF EXTRAORDINARY POETS www.lxpbarbados.org

MISSION The Mission of the League of Extraordinary Poets (LXP) is threefold; 1. To nurture those involved in the arts, with a special emphasis on poets and spoken word artists; 2. To edutain the public through exposure to our art, and 3. To use the voices of the artists to bring awareness to, and to actively work towards addressing issues of importance in our society.

VISION The LXP was founded on the principle that no art form exists in a vacuum. It is inexplicably tied to society, culture and time in which it is created, and that artists can improve their skills, and inspire one another when they operate in a close knit community of other like-minded artists, committed to positive feedback and professionalism in pursuing their art to its highest and best potential.

The LXP sees spoken word and other forms of poetry and lyrical commentary as art forms which are not only able to express the personal vision, emotions and stories of the individual artist, but also as vehicles to speak to social issues not addressed in other forums and to educate the public in the hopes of bringing positive change to the society in which we live.

'Meet the Artist’

ARC MAGAZINE ARC Magazine is a quarterly Caribbean Art and Culture Print Magazine published out of St. Vincent and the Grenadines by artists, Nadia Huggins and Holly Bynoe. www.arcthemagazine.com www.facebook.com/arcmagazine twitter.com/arcthemagazine

To boldly and brilliantly pursue the adventure in everything artistic and to be a vital and uncommon cultural force in Barbados. www.artsetcbarbados.com

QUEEN’S PARK GALLERY

Queen's Park Gallery is temporarily(?) located at Pelican Craft Centre #12 on Harbour Rd, Bridgetown

QUEEN’S PARK GALLERY SCHEDULE

MAR 17 – APR 13

Nick Whittle

APR 21-MAY 25

Juliana Inniss

MAY 6 - JUNE 2

Omowale Stewart

JUNE 2 - 29

Barbados Photo Society

JULY – AUG 10

Crop Over Visual Arts

AUG 18- SEPT 14

Ras Ilix Heartman

SEPT 22 – OCT 19

Arlette St Hill Retrospective

OCT 27 - NOV23

Rosemary Pilgrim

DEC 1 -28

Roslyn Watson Retrospective

Queen's Park Gallery is temporarily located at Pelican Craft Centre #12 on Harbour Rd, Bridgetown QPG tel.#427-2345

MORNINGSIDE GALLERY Division of Fine Arts, BARBADOS COMMUNITY COLLEGE morningsidegallery@bcc.edu.bb 426-2858, ext.5262

MOSAIC GIFTS Mosaic Gifts features the work of many local artists and artisans.

At Hilton Barbados.

Showcases paintings, prints, woodwork, ceramics and jewellery, all made locally. open daily from 10am – 4pm 246 437 0794 mosaicgifts@gmail.com

FRAMING YOUR ART FINE ART FRAMING LTD, Pelican Industrial Park, Bridgetown, Barbados - (246) 426-5325 FAST FRAME FACTORY, Dayrell’s Road, St Michael (246) 426 9994 shaka@fastframefactory.biZ AA FRAMING & DECORATION. #4, 1st Avenue Belleville, St. Michael, Tel: (1-246)-435-0513 Fax: (1-246)-426-6004 | E-mail: aaframing@caribsurf.com www.aaframingartonglass.com FRAMING STUDIO At the Best of Barbados Head Office, Welches Plantation, H’way 2A421-6900 ext 29

ART SUPPLIES THE ART HUB ( 2 locations) James Forte Building Hincks Street Bridgetown, Tel: 436 2950 cell 231 6847 Sunset Crest # 163 Amaryllis Row,Sunset Crest, St. James.

MORE GALLERIES GANG OF 4 The Cottage, Springvale Plantation.St. Andrew . tel 438 7883.

CONSTANT GALLERY OF FINE ART Sculpture and fine art (by appointment only), (246) 429 2654 and 232 7830. email: tradersrealty@caribsurf.com A GALLERY, By appointment please contact: Catherine Forter-Chee-ATow Curator/Artist Tel: 246 262 6238 or 246 262 6241 e: c.forter.cheeatow@caribsurf.com Royal Westmoreland, St James & The Mews Restaurant, Holetown

Tickets available from : The Super Centre supermarkets – Sunset Crest, Warrens, Oistins & Big B; & CS Pharmacy, Bridgetown.

Online: @ Tickets available at: https://www.iticketsbarbados.com/events/performing-arts/the-mountain-top-by-the-gale-theatre-tickets/ iTickets Barbados, Cave Shepherd, Broad St, Vista and Sunset Crest

Photography by Jaryd Niles Morris

www.iticketsbarbados.com/events/performing-arts/the-mountain-top-by-the-gale-theatre-tickets/

THE NATIONAL ART GALLERY COMMITTEE

Visit www.nagc.bb - website for the National Art Gallery Committee in Barbados for NEWS on current happenings.

The site includes ArtistNet, the database of Barbadian visual artists; a click on ‘Artists’ will take you there. Visual artists are invited to post their profile and images on ArtistNet. Artists already on ArtistNet are reminded to send in their profile updates and new images.

ArtistNet is a FREE NAGC service for artists.

For further information contact the NAGC at +1 (246) 310 2700 or e-mail contact@nagc.bb

“Art is about the core elements of our lives, manifested in what we see, hear, taste, make, read and write, wear, and how we move.

It is the creative footprint that becomes the discernible difference between people of different countries and experiences. It is a unique cultural trademark and the magnet that draws us to explore the corners of the world in search of those aspects of life that make us different from each other.

It is the goal of the Barbados Summer Arts Festival to encourage the celebration of these seven elements that reflect our cultural identity and as we do so, to foster their development, allowing gainful and sustainable development for their practitioners.“ Ronnie Carrington www.barbadosartsfestival.com

Save the dates for the 2013 European Film Festival 17-26 May Walcott Warner Theatre, Errol Barrow Centre for Creative Imagination, University of the West Indies, Cave Hill, St. Michael

Errol Barrow Centre for Creative Imagination, UWI EBCCI at 417 4776

www.cavehill.uwi.edu/ebcci

FRANGIPANI ART GALLERY, Sugar Cane Club, Hotel and Spa, St. Peter.

(246) 422 5026

info@sugarcaneclub.com

Purple Palm is a local business supplying homes and businesses with the highest quality Print and Mirror furnishings. Using the artwork of many local artists in Barbados and the Caribbean plus work from around the world.

We have been supplying to the hotel and villa industry for ten years, including prestigious clients such as Sandy Lane, Coral Reef, The Crane Beach Resort, Sugar Cane Club and Sandridge among others. We have also supplied numerous private villas, and work closely with local interior designers.

Being directly affiliated with a 40,000 sq ft framing factory our prices are very competitive.

Appointments to view our gallery at Rockley Resort can be made through Paul Hoad or Karen McGuire.

246-2332173 paulhoad@caribsurf.com

Photo by Peter Boos

THE ARTSPLASH CENTRE Paint * Draw * Create & Have Fun! artsplashbarbados@gmail.com www.artsplashbarbados.com

THE FESTIVAL ART GALLERY AT ARTSPLASH GALLERY You are invited to meet the artists At the opening Reception Friday Apr 5th 5.30pm – 8pm Group Show Exhibition April 2nd- 23rd Hours Mon & Sat 8am – noon Tues- Fri 8am – 4pm Festival Art Gallery is a mobile art gallery showing in excess of 50 local Barbadian artists who are painters, ceramic artists, photographers and sculptors. www.festivalartgallery.com

Some of the art that was displayed at this exhibition may be seen on https://www.facebook.com/media/set/?set=a.10151514176092720.1073741829.602142719&type=1

FRANK COLLYMORE HALL AND GRAND SALLE www.fch.org.bb

A monthly programme is produced of all lectures, music and theatre events . To receive it by email or post please email fchmail.com or telephone 436 9083 or 84

GALLERY OF CARIBBEAN ART The Gallery Of Caribbean Art will be presenting the works of a variety of artists, both metal and fine art works Northern Business Centre, Queen Street, Speightstown, St. Peter, Barbados www.artgallerycaribbean.com

Tel: (246) 419-0858

THE GALLERY OF CARIBBEAN ART SCHEDULE 2013

9th/10th March, 2013 Thru To 4th April, 2013 - Heidi Berger & Bill Grace 7th April, 2013 Thru To 30th April, 2013 – Erik Feely ( Trinidadian / Irish artist )

Our Mission To fuel the development of culture through training, research and the creation of opportunities in cultural industries.

The Role of the NCF The NCF’s two major roles are: developmental and commercial. In its developmental role, the Foundation uses culture as a tool for national development fostering and supporting the various art forms and new cultural products. In its commercial role, the Foundation is responsible for the promotion, production and hosting of cultural festivals and associated events that are considered economically viable or socially acceptable. A key part of this function now includes the responsibility for the staging and execution of major governmental and national events. In addition, as culture becomes more pivotal to national and international policy, the National Cultural Foundation continues to re-assess its responsibilities in light of all its functions.

FUNCTIONS of the NCF are: To stimulate and facilitate the development of culture generally To develop, maintain and manage theatres and other cultural facilities and equipment provided by Government To organize cultural festivals Assist persons interested in developing cultural expression.

OBJECTIVES of the NCF are: To provide opportunities for Barbadian artists/artistes to showcase their talents with the end result being an increased demand for local work To educate Barbadians concerning their heritage To offer Barbadians and visitors alike a high quality product that informs, educates and entertains To equip our cultural workforce with technological skills and training to excel in their particular art forms To strengthen the local cultural product and in the process increase profits to the shareholders To create high quality products that will be competitive on the local, regional and international markets To maximize the role of the cultural sector in the tourism industry Rodney Ifill, Cultural Officer Visual Arts 424-0909 ext.234 rodney-ifill@ncf.bb www.ncf.bb Annette Nias Cultural Officer - Film and Photography 424-0909 Ext 238 annette-nias@ncf.bb

PETER SHEPPARD

pleinairart@gmail.com

SUSAN MAINS

susanmains@gmail.com

ASHER MAINS www.ashermains.com

LISA HERRERA

www.lisaherrera.com

ELIZABETH HARDWICK

www.facebook.com/MyShootingStarsPhotogaphy

RAMELTON ESTATE A place to create or just to be www.rameltondominica.net

unhurried, unworried, unspoiled

unwind

ISLAND FURNITURE LIMITED

www.islandfurnitureltd.com

ROSEMARY PARKINSON www.rosemary-parkinson.com

ROSEMARY PARKINSON www.rosemary-parkinson.com

BARBADOS MUSEUM AND HISTORICAL SOCIETY www.barbmuse.org.bb

BARBADOS MUSEUM AND HISTORICAL SOCIETY SHOP www.barbmuse.org.bb

The quintessential guide to contemporary Caribbean chic. Caribbean travel, homes, cuisine, and people.

www.macomag.com

ONLINE NEWS, JOURNALS & BLOGS WHO SUPPORT THE ARTS BAJAN REPORTER Supporter of the arts in Barbados. Wonderful New On Line Newspaper http://bajanreporter.com Congratulations to Bajan Reporter who has been a wonderful patron to the arts in Barbados by giving all art forms exposure in his newspaper and so helping our culture get out there.

Wonderful advertising prices too.

PROMOTE YOUR EVENT AT TOTALLY BARBADOS AT NO COST !

Do you have an event that you want everyone to know about? Then list your Event on the Totally Barbados Events Calendar and let us help you generate more public awareness of what’s going on in Barbados at any given time. Simply click on the below link to Submit An Event� at no cost to you and be a part of our Monthly Events Calendar; one of the largest event calendars for Barbados! No event is too big or too small - simply fill in all relevant information such as the date, time and descriptions of each event to let it be known throughout Barbados and across the World Wide Web. www.totallybarbados.com/cgi-bin/barbados/addurlevents.cgi

www.whatsoninbarbados.com For calendar of events in Barbados.

Postings on www.whatsoninbarbados.com are free.

Facebook page www.facebook.com/WhatsOnInBarbados

www.barbados.org

eat. drink. play

www.scarletbarbados.com +1 (246) 432 3663 scarlet@caribsurf.com

SCAN ME

Published by Corrie Scott

Barbados, West Indies

www.corriescott.net