December 2018 issue of the Visual Arts Barbados magazine

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Cover Art Photography by Lorna Rose

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 Published by Corrie Scott

Welcome to Barbados Monthly Arts Events This is a completely free 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 visual arts event to get in contact with me at 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



To intuit another experience within the shape and rhythms, and the colours of all that is around us. Creation is an act of imagination and my paintings try to take you on a little journey of fantasy. To look at the sensuality of flowers, to feel how they resonate with our own sensual feelings. To connect with pulse of growth and see how it reveals the life force in a web of energy reflecting and informing our psyche. To look anew at that with which you may already have some familiarity. CONTACT DETAILS Call (246) 249-1750 Email Facebook

The Frame & Art will once again will be hosting the ‘Anonymous’ Charity Art Show exhibition benefiting Ark Animal Welfare Society of Barbados. Opening reception December 7th from 5:30 - 8:30 pm. All are welcome. Over 200 original paintings created in diverse styles and subject matters will be featured on 12" x 12" canvases to be sold anonymously. The artist remains a mystery, until after the purchase. Purchased paintings will be taken off the wall and the artists name will be revealed. All paintings will be sold for $375.00 BBD. For more information, contact 271-6509.



THINGS THAT MATTER – The National Art Gallery - Emergency Call! Sir Henry Fraser “The gallery - a living institution, growing in usefulness and importance to artists, scholars and the general public.” Paul Mellon, American philanthropist) “If you look at a painting that you love by one of the great masters, every time you go back to it, you see something different.” (Rory Kinnear, actor and playwright) “The National Gallery is the place that means to represent everything that's good and important in art and show what it believes everyone who is a citizen should recognize and engage.” (Kerry James Marshall, brilliant AfroAmerican artist) In the newspapers of November 10th it was reported that the Minister of Culture gave an update on the longawaited National Art Gallery. The fervent hopes and constant pleas of our many, many artists, educators and art enthusiasts for a National Art Gallery go back almost forty years. The Art Collection Foundation began in 1985 as an ad hoc committee and became a charitable organisation incorporated under the laws of Barbados in December that year. I believe it was the brain child of the late Norma Talma, artist and wife of the late Dr. Trevor Talma, dentist, and the philanthropic lover of Barbados, Mrs. Nancy Sonis, who recently gifted a collection of 75 Barbadian paintings to the nation, in care of the Barbados Museum. The Foundation’s goals were threefold: To mount an annual Awards Exhibition, To acquire by purchase or donation 20th century works of art, - To help in the establishment of a National Gallery to house the growing collection. Norma Talma, President, stated in her report (1987) “Our wish would be that through the assistance of the Barbados Government, we will by next year have at least temporary housing for the National Collection. We look forward to continued cooperation with the National Cultural Foundation in facilitating this urgent need.”

In 1994 the Art Collection Foundation legally restructured and changed its name to become the Barbados Gallery of Art. By 1995 over 150 paintings, sculptures and works on paper had been acquired by purchase, donation or bequest. With the help of the Barbados Turf Club, the opening of the Barbados Gallery of Art took place on October 19, 1996 at the Historic Garrison, Bush Hill, but it was forced to close a few years later. The BGA became Barbados Gallery of Art Trust on January 1st, 1998. The National Art Gallery Committee (NAGC) is a government appointed group, renamed the Barbados National Art Gallery (BNAG). The legislation related to the gallery can be found in the Laws of Barbados, Chapter 48 B, “National Art Gallery, 2007 – 37” by googling Barbados National Art Gallery Committee, Act. It is a comprehensive act that seems to have been passed and filed but never properly carried through, although there was an on-going committee, members of which automatically resigned after the recent election. The way is now clear for the new government to act to make things happen – to reappoint a Committee, provide start-up funds and move towards developing the site and staffing the gallery. The Minister has indicated, as widely publicised for many years, that Block A at the Garrison is the top choice for the Gallery, being both the most economical and the most easy to achieve. This building was identified as the ideal location under the last BLP administration, and the Minister pointed out that it’s “in pretty good condition and wouldn’t take a lot of money.” He also commented that the Carnegie Library and the Old Vestry Hall / City Hall, often incorrectly called the Old Town Hall, had been suggested. Let’s look at the pros and cons of these sites, to see why Block A is the obvious choice. The Carnegie Library restoration has been estimated at 4.5 million dollars. The National Library Service is anxious to return there, and the working concept is to restore the Carnegie AND the adjacent true Old Town Hall / Old Supreme Court building (probably another four million dollars) as a National Library Complex, with a courtyard in between. This would provide space for a modern library with not just stacks for books but computer labs, carousels for study, some exhibition spaces, meeting rooms and offices. While an ambitious project, it would be a magnificent, much needed catalyst for social and academic activities and national development, roles played by major modern libraries all over the world. The Old Vestry Hall / City Hall / Old Town Hall was a suggestion some thirty years ago, but it’s been effectively restored as offices, and while it may attract some cruise ship passengers it’s not the most easily accessible site for the public, many of whom avoid the congestion of Bridgetown altogether; and it’s really too small.

Block A has both the many advantages of size (12,000 square feet on each floor), sound condition, and ideal location in the historic Garrison, next to the Barbados Museum, with convenient parking. It will bring life into the UNESCO site, which hasn’t been exploited or developed in any way by the last administration, and it will hugely enrich the attractions of the Garrison. The multiple spin-offs – cultural, social, touristic and economic - of progressing this long-standing selection for the National Art Gallery – justify urgent action on the part of government to begin the planning process, the expert consultations and interior design, and the fund raising for adaptive re-use to achieve the goal of a fine gallery, after forty years of talk and empty promises. The hundreds of paintings in storage are endangered, and Black A should not be left any longer, increasing the costs of upgrading. When the appropriate administrative decisions are made, we are confident funds can be raised to make it happen, and it will redound enormously to the credit of the Government and the Ministry of Culture. Bouquet: To the Queen’s Park Gallery. Curator Janice Whittle has mounted a splendid show to celebrate 45 years of NIFCA (National Festival of Creative Arts). It comprises award winning work over the years, kindly lent by owners / artists. My favourite is “She the Sun, I the Moon” by Tracy Greenidge – a brilliant work of photo manipulation. There were two wonderful large landscapes by Sheri Nicholls, “St. Nicholas Abbey” and “Baptism”. There is a splendid sculpture “The gift”, by Amanda Springer, reminiscent of Edna Manley’s famous “Beadseller” (1922); Nick Whittle’s Ancestor 2017 – an Expression of the Middle Passage; Cy Hutchinson’s beautiful wooden vases carved from Neem and Norfolk Pine, and much, much more. It’s a “must see”. Update: The new Wrapsody Café Wine & Bistro at Bandstand Manor on the Garrison is now open every Saturday from 9 a.m. and Tuesdays to Fridays from 7 a.m. for breakfast, with Tuesday to Friday offering an early bird takeaway special, where $25 covers any choice of breakfast wrap with a coffee - latte or cappuccino. I dropped in for breakfast and chose the splendid black bean and avocado wrap with my cappuccino. Professor Fraser is Past Dean of Medical Sciences, UWI, Professor Emeritus of Medicine and Clinical Pharmacology and President Emeritus of the Barbados National Trust. Website:

Architecural Historian / Heritage Consultant Chairman, Sentinel Committee, Barbados National Trust Writer, TV Presenter, National Orator & Motivational Speaker Professor Emertius, Medicine and Clinical Pharmacology. Immediate Past Dean, Faculty of Medical Sciences. University of the West Indies, Cave Hill Campus, Barbados.


TUK BAND SERIES These are a number of paintings with a common theme: The Tuk Band and its attendant folk characters. The three basic instruments were the ‘Bum Drum’ or the Bass Drum, The ‘Kittle or Skittle Drum’ (now more often a Snare Drum) and led by a ‘Penny Whistle’ or flute. It is now common for a saxophone to be included in the line-up. I first became aware of the traditional tuk band as a child, witnessing it first hand at the Garrison on horse racing days. I’d look down on it from the stand as it passed on the street below as they performed for coins tossed from above. I was attracted by and enjoyed the rhythm of the drums, the colours and the antics of the Donkey Man and the Bubbalupse but was more than happy to be ‘safely’ out of their reach. The bands seemed to become progressively less visible. It may have been just me but I only became aware of them again in the late 1960s early 70s when I started to associate with the Barbados Dance Theatre Company. At that time Youruba House was conducting workshops and encouraging youngsters in local folk traditions and The BDTC would use live bands for their folk choreographies. The ‘Landships’ were using them as their ‘engines’ during their appearances. I personally refer to this period as Tuk’s ‘Resurrection’. The beat was further popularized some years later when Punka introduced it into CropOver calypso. The colour and movement of Tuk are the inspiration for these pieces. An opportunity to depict an aspect of Bajan culture in a stylized flat manner featuring line, shape and texture. Arthur Atkinson

Do you consider what you use and discard of regularly? What are you doing on a daily basis to minimize your consumption of single-use plastics?



Arrivants Press Release

Arrivants: Making Exhibitions in the Caribbean Reflections from the Curatorial Team Blog by Veerle Poupeye The University of the West Indies in association with the University of St. Andrews (U.K.), are pleased to present Arrivants: Art and Migration in the Anglophone Caribbean World, an exhibition which is funded within the scope of the Horizon2020 EU-LAC-MUSEUMS project and facilitated by the Barbados Museum and Historical Society. Staged to coincide with the International Museums Conference Itinerant Identities: Museum Communities / Community Museums co-hosted in Barbados by The UWI and the Museums Association of the Caribbean, Arrivants will be on view at the Barbados Museum, St. Ann’s Garrison, from Friday, November 9 to the end of January 2019. Taking its title and its focus on “the journey” from Kamau Brathwaite’s The Arrivants trilogy, to which we also pay tribute, the exhibition explores the diasporic nature of Caribbean society as documented and interrogated through its artistic production. The focus is on the Anglophone Caribbean at different points in time from the mid twentieth century to the present day and on the cultural impact of migration from and to the United Kingdom, and by extension Europe and to North America, as well as the movements within the Caribbean and Central American region. In doing so, we also consider the earlier histories of forced and voluntary migration, that have become deeply embedded in the psyche of Caribbean peoples, and the manner in which these have shaped the identities and experiences of Caribbeans today, whether they are (or are not) themselves migrants. Most of all, the art selected for this exhibition focuses on the social and cultural impacts of these migratory patterns, their political significance, the histories of defiance and resistance, and their implications for individual and collective identities.

Arrivants consists of a series of interventions into the galleries and exterior spaces of the Barbados Museum and Historical Society, with work in various conventional and new media by Ewan Atkinson, James Boodhoo, Karl Broodhagen, Ras Ishi Butcher, Eddie Chambers, Paul Dash, Stanley Greaves, Francis Griffith, Caroline Holder, Nadia Huggins, Leasho Johnson, Marianne Keating, Winston Kellman, Kelley-Ann Lindo, Hew Locke, Phillip Moore, Kishan Munroe, Lynn Parrotti, Keith Piper, Sheena Rose, Veronica Ryan, Simon Tatum, Aubrey Williams, Golde White and Cosmo Whyte. The Barbados iteration of this exhibition has been curated by consultant curators Veerle Poupeye and Allison Thompson and is funded through the EU-LAC-MUSEUMS Project. As a project, Arrivants also reflects on the processes involved in art exhibition-making in the Caribbean, the challenges as well as the opportunities for new thinking and innovative approaches, and the critical need for capacity development. A reflective blog has been established in which members of the curatorial team will share their thoughts and reflections, along with photographic and video documentation of the installation process and the exhibition, as well as short interviews with participants. This blog can be found at For more information, please contact the Barbados Museum and Historical Society, please email or call Tel: (1) 246-538-0201/246-537-1956.

This project has received funding from the European Union’s Horizon 2020 Research and Innovation programme under grant agreement No 693669

Photography Veerle Poupeye

Photography Veerle Poupeye


‘Permanent Impermenance 26 Artists’ Exhibition Presented by Artist Alliance Barbados Hosted by the Embassy of Argentina, Lucerne, Hastings Opening reception Tues Nov 6th, 5pm-8pm. Exhibition ends Friday December 21st Curated by Oneka Small Mon - Fri. 10am-3pm (by appointment only) To make appointment please call 537 1800 or 8223694 Directions. Almost obliquely opposite the Savannah Hotel in Hastings. On land side. Drive in to the left and continue to the back where there is a sign for the Embassy. The telephone numbers are above should you miss it. Artists exhibiting Akyem-i Ramsay, Adrian Richards, Alison Chapman-Andrews, Barbara Pickering, Robert Bruce P. Evelyn, Cher Antoinette, Corrie Scott, Hebron Chism, Jaryd Niles- Morris, Jason Hope, Juliana Inniss, Kenneth ‘Black’ Blackman, Kadiejra O'Neal, Kraig Yearwood, Lorna Wilson, Margaret Herbert, Risée Chaderton-Charles, Raymond Patrick Maughan, Rosemary Pilgrim, Rupert Piggott, Sian Pampellonne, Tracy Greenidge, Walter Bailey, Vanita Gopwani Comissiong


I feel a sense of being when I inhale deeply, when I stop to breathe, admire and contemplate. As humans, we are constantly reminded about our impermanence. The most forceful reminder is death. The impact is of higher magnitude when the person is close to you. On 12th September 2018 Vashti Riley passed on. I had the distinct honour of conversing with her in the days prior to her passing. Her children were grown and holding their own, she had travelled the world and lived in service to humanity in both professional and private life. She passed peacefully; yet it was painful to us remaining. As with all transitions we are called to think deeply about life – ours and others, and humanity in general. Heidi Berger’s SOUNDS OF SILENCE reflects those moments of contemplation. For some, we are of the elements of nature – earth, water, fire, air, ether. Cher’s work RED GOLD calls to mind this nebulous uncertainty. Robert Bruce Evelyn’s EFFERVESCENCE brings to mind the philosophy and spiritual system that holds to the belief that all life came from the water. This is also echoed in the work of Tracy Greenidge. It is often said that life is short but in my contemplation maybe it’s just the right amount of time to make it perfect. Lorna Wilson’s MOTHER’S PRIDE and SHE ADORES HIM remind us that we are born to live before we die. There is such joy and pain in child birth as in death, and in both experiences, there is hope and continuity. Although everything is terminal, it is the experiences between birth and death that really matter. Each stage of life must be honoured, revered and celebrated. This is most telling in Raymond Maughan’s CONTENTMENT and in Barbara Pickering TAKES TWO TO TANGO where the dancers have not lost that joie de vivre. The message of Sian’s TRUTH BEHIND THE GLASS is that we will experience both pleasant and not-so-pleasant on our journey and we never really know the stories of others; but in all, as we grow, we learn to master and control our own experiences.

Juliana Inniss’ ANCESTRAL POT reminds us that we carry so much more than we know and this information is passed on through the generations. Eventually we all become ancestors. Hebron Chism’s KINGDOM OF TUPAC tells us in a very impactful way, to be very mindful of what we do with our time here. How do we make the world a better place before we too pass? What will be our story when 2000 years from now the archaeologist digs through our remains? Jason Hope’s ROOTS OF ALL shows the constant interaction between the seen and the unseen. We are constantly crossing boundaries between the material world and the spirit world. Permanence not only deals with the human condition or the condition of matter, it also has to do with how we experience the world. Margaret Herbert’s HAIRY COCONUTS and CONCRETE – THE EARTH, invites us to examine both the organic and inorganic aspects of our environment. If we look to the trees they are constantly renewing themselves while the inorganic stagnates and fades. Alison Chapman-Andrews’ COLD NIGHT COLLAGE captures the harmonious balance of the environment, and Kadiejra’s FEATHERS reminds us that we are in a constant motion, flux and travel. Rosemary Pilgrim’s MORNING WHISPER touches on the fact that human kind, like the bird, is a migratory species. The Chinese will add travel to human needs; so powerful a force it is. Kraig Yearwood’s THE WALL deals with this transience on a metaphysical level as man is in constant movement through space, place and time. Ras Akyem-I’s RED STUDIO #1 looks at shelter, space and habitation. Seasons change, architecture changes. Change is inevitable. However, in that change the human needs remain the same, food, clothing and shelter, the look and form it takes changes over time. Walter Bailey’s TRIBUTE TO KAMAU examines how life supports life, to be respectful, mindful and economical with the resources of nature.

Kenneth “Black” Blackman remarks that everything from the hardest to the softest of substances is made to decay. His organic sculptures WAVE and STRUGGLE are a testimony to the power of water to transform even the hardest of woods, while his PONDERANCE and Corrie Scott’s AS TIME GOES BY exemplify the beauty to be found in decay. We are creatures of permanent change and motion, much like the atoms that make up every living thing. Once we are alive we will have experiences. Those that experience to the fullest seem to / are determined to have the best lives. The time spent is not important, what is important is what is done with the time. This is best remembered when a peaceful soul passes on. Oneka Small Artist Alliance Barbados November 2018


Art and Errantry in the Caribbean By Asher Mains

I wanted to post this as a placeholder for thoughts I’ve been having while reading Édouard Glissant’s Poetics of Relation. Many times when thinking about the role and position of art in Grenada and more broadly the Caribbean the questions have been, “What does art look like when there are no institutions to support it?” or “How can we get people to engage with art?” or “What does an art scene look like if we start it from scratch?”. In reading Glissant, the word errantry stands out as a powerful idea in terms of thinking through our art scene. Errantry is difficult to define succinctly because it directly relates to the idea of wandering – particularly in search of adventure. Glissant however, makes a case for errantry in terms of relation and as a way of talking about cultures encountering each other and on the micro level, talks about the multitudes of individual experiences encountering each other and synthesizing a collective human experience. This stands against the idea of rootedness or filiation where through tradition a “correct” or “proper” way of being in the world has developed. Errantry and the poetics of relation allows for language to change when it needs to – it allows the processing of new information and adaptation. Rex Nettleford called creatives to engage in the dynamic and ongoing process of “adjustments, rejection, affirmation and innovation.” (Nettleford 1979) This has always been a characteristic of Caribbean culture. Glissant suggests that the Caribbean may be the most adept region in the world to deal with globalization because it has always dealt with cultures encountering each other in varying levels of violence and conquest but also in terms of relation. The Caribbean as a region has been an exceptional example of contextualizing many cultures of the world into an identity that does not need to declare any of its parts necessarily greater than others. What then, does art and errantry look like in the Caribbean? What does a gallery or museum scene look like if it does not depend on the filiation of European or American models for its format? Our artists have been diligent in considering how their art is an expression of themselves and their region but how then do we contextualize or “adjust, reject, affirm, and innovate” the way we show our region’s artists? What does it look like when we utilize every good process in the world along with what we know about our own culture(s) to provide an encounter to people whether they are initiated with the art world or not with art? How are we making art accessible and contextual? As we are the products of negotiated encounters, how are we creating spaces where negotiation can exist?

Hans Ulrich Obrist, references his admiration of Glissant and went on to stage fantastically nontraditional art exhibits. (Obrist & Razzā 2016) Aside from being a brilliant curator, his projects were real expressions errantry and relation. One of his exhibits had moveable walls with artwork on them and viewers were encouraged to move the exhibit in a way that was pleasing to them. Without going into all of the examples, his work as a curator is a model for how we should be approaching curating in the Caribbean. As a wanderer and a nomad in a Deleuzian sense – we realize that there is no tradition to defend and no authority to appeal to as we have broken away from any root and have found our sense of place amongst the many relations we have culturally and individually. In some ways this involves more thought as we have to consider that every decision we make about the showing of our work then must have a reason or explanation. In other ways it allows us to trust our intuition more. We cannot always be conscious of all of the ways we have been influenced by our environment but the things that remain with us are important. As veterans in traditional art scenes we have to check our own sensibilities before we declare that things are not being done properly. Basic rules of aesthetics can apply but the poetics of relation also considers that we are not trying to dominate or declare another sensibility as insufficient. Ideas can be exchanged and respected but should always be examined in the sense of trying to gather the best that every perspective has to offer. Perhaps art openings should be more like a potluck than a happy hour. Maybe it’s ok to tear a random page from a book to go along side a painting as it’s “title”. We should ask ourselves what would make us go to an event we had no inherent interest in. Instead of telling the public to get on “our page”, how are we allowing the public to inform us of what they want? In The Necessity of Art Ernst Fischer describes art as an inherently magical thing because at the root of it is the artist’s awareness that they are able to affect the world around them by an idea they have or something they can make (Fischer 2010). How are we as gallerists, curators, etc. allowing our artists to affect the world they live in? Should presentations be more formal? Less formal? Should there be more explanation to go along with a piece besides Artist, title, medium, etc. We should take the time to at least ask ourselves how much of what we do and what we perceive as doing things the “right way” are just a perpetuation of a dominant and hegemonic cultural influences. Let’s all wander for a bit.

Fischer, Ernst, et al. The Necessity of Art. Verso, 2010. Nettleford, Rex. Caribbean Cultural Identity. Center for Afro-American Studies and UCLA Latin American Center, 1979. Obrist, Hans Ulrich, and Razzā Asad. Ways of Curating. Farrar, Straus and Giroux, 2016. Asher Mains Bio With his recent appearance with Grenada’s first Official National Pavilion at the 2015 Venice Biennale, Asher Mains is an emerging voice in the Southern Caribbean that is worth noting. Having shown work in his home country of Grenada over the past 20 years, Mains has also shown in New York, Berlin, Barbados, Shanghai, and Rio de Janeiro. Brené Brown says that, “To become fully human means learning to turn my gratitude for being alive into some concrete common good.” This sentiment was at the heart of the Painted Portraits for Cocoa Farmers Project. Spending time on and giving painted portraits to the farmers was a way of connecting with them by giving them something in return for the work that they have already done in producing cocoa and chocolate. Subverting the traditional model of portraiture and patronage meant exploring generosity and exchange in art. It had also lead to exploring vulnerability, intimacy and human exchanges beyond market transactions. Primarily a representational painter, Mains uses art objects to initiate dialogue and experiences. In the next year, Mains will be working on a material exploration for art making involving materials that can be sourced entirely within Grenada, reducing the dependence on the importing of cost-restrictive art media. To have a more effective conversation about the development of art in Grenada, Mains believes that the material we use to make the art says as much as the content. Mains has a B.A. in Intercultural Studies from Calvin College and is currently an MFA candidate in Creative Practice from Transart Institute, accredited by Plymouth University, UK.


'The Carmichael Prize' exhibition at the Gallery Of Caribbean Art October 18th - November 7th. AWARDS PRESENTATION. Winners were presented awards on Saturday November 3rd, 6.30pm - 8.30pm Artists Cathy Alkins, Leah Boras, Richard Alleyne, Juliette Clarke, Susan Forde, Markley Clarke, Carol Cadogan-Fox, Rosemary Ellis, Alison Chapmanandrews, Jeena Chatrani, Caroline Gill, Cathy Cummins, Jill McIntyre, Jason Hope, Heather Meyer, Princess Bilinda Johnson, Milligan, Michael McChlery, Gabrielle Moore, Sheri Nicholls, Lou Noel, Sian Pampellonne, Gail Oelmann, Margaret Nock Rodriguez, Mark Phillips, Heather-Dawn Scott, Christopher Richards, Julia Seymour, Maria Stanford, Eva Sandra Torsteinson, Linda Tudor, Sue Trew, Helen Austin Tulip, Sonia Marie Tuleja, Roslyn Worme, Yasmin Vizcarrondo, Lorna Wilson.


RICHARD DAISLEY In the year 2004 I was introduced to the art of lamp working a form of glass blowing. Fascinated by the uses of a torch to bring glass to a molten state where it can then be blown and shaped with tools and hand movements, I knew then this was my passion and I fell in love with this ancient art form instantaneously. In the first year of dedicating my life to this newly found love, I realised this relationship was not going to be easy, and so I found myself at the verge of a break up. However I needed this to work and I made up in my mind to wade thru these rough waters and overcome all obstacles in which I would encounter as time passed by. I learned to appreciate this medium called Glass. I became one with it, expressing my feelings in each piece I crafted. Expressions of the heart, mind, body and soul. Feelings of happiness, sorrow, pain, pleasure, hatred and love filled each work of art as they told their own stories and I told mine. With every heated kiss from the flame upon my skin, the fire reminded me not to take it for granted. For respect was due and I often felt its wrath, when I didn't take heed. Leaving behind scars as a constant reminder. Guess its true what the old folks used too say. Play with fire, you will get burnt. As the years went by one after the other I matured not only as an artist but as an individual. For while I was molding the glass it to was molding me. Though still young in my career as an artist I aspire someday for my name to be written and remembered in histories pages, amongst the greatest artists the world has ever seen. I often look back at where I started and where I am now. I have come a might long way and I must give thanks. Thanks first and foremost to the Almighty Father, for without him who and where would I be? The Father gave me life, health, a creative mind and the ability to make my dreams come true. I was also given a strong support system. My family, friends, love ones, patrons and yes even the critics. You all played an important role in this journey of my life and for that I say thank you, from the depth of my heart. Richard Daisley Rebel Arts Glass Studios



BARBADOS PHOTOGRAPHIC SOCIETY. The Theme for October was RUM SHOPS AND CHATTEL HOUSES. Old and new designs and interpretations of. Members were encouraged to feel free to expand the theme to foods, people, games and anything more related to the theme. hashtag #bpsrumshops or #bpschattelhouses or #rumshopsandchattelhouses when posting within this theme so that they may be easily found. We so need to record our architecture.

Soroptimists International Barbados presented ’Art & Expression‘, a fundraising exhibition. Sat 17th Nov, 6pm-10pm at EBCCI, UWI. There was also a Paint and Sip opportunity An event which will highlight and empower women of the arts. The event coincides with the global commemoration of the period “16 Days of Activism Against Genderbased Violence” as we join the challenge to end violence against women and girls locally, regionally and internationally.

Artists: Anya Stephen, Ariel Waithe , Doreen Edwards, Karen Birch, Nyssa Haynes-holder, Akilah Watts, Anna Gibson, Llanor Alleyne, Simone Edwards

the Crayon GunShotta Block Tour By Heshimu Akinyemi. Which is to be held August 26th from 2:00PM until 7:00PM.
























“A Touch of TEAL”. Opening reception Sat, 3 Nov, 6pm - 9pm Artwork by Michelle Rodriguez-Bowe and Stacy Altman At Drift Terrace Lounge, Holetown Exhibit will end December 27th



GINE ON MAGAZINE·Gine On?! is the online magazine brainchild of cultural practitioners DJ Simmons & Empress Zingha published every other Thursday on The husband and wife duo developed the digital publication with artists, entrepreneurs, and all the persons who support them in mind. Too many times do we hear; “Where else does events like this happen?” “Where can I hear live music?” “Anything else going on other than fetes?” “I didn't even know that was happening”. This online, access anytime hub is here; so YOU can find your next favourite time! We broadcast bare Bajan culture to thousands of users to any device connected to the world through the web portal Link with us for original video content highlighting various art personalities, new music, videos, blogs, podcasts, I mean a couple clicks opens a wealth of entertainment. We build an engaging experience for hundreds of our supporters on social media connecting the world to know wuh gine on with arts and culture right here at home. See you somewhere sometime soon... Sign up to our mailing list to make sure you always in de know at: Hosting or performing at a live entertainment event, or doing any activity progressing performing arts in the island? Forward us an email ( with more information so we can help push it for you. Let's help and support each other in the arts! Come and hear wuh Gine On!


JILL WALKER BOOK Up the Islands Memories of the West Indies Artist Jill Walker is well known for her paintings of Barbados, but her new book ‘Up the Islands’, shows her remarkable collection from the diverse islands of the West Indies. Together with photographs taken by her husband Jimmy and excerpts from his weekly letters to his mother in Scotland in the 1950s, this book follows the travels of a young couple through the islands in a simpler time. The book has been compiled by Jill’s daughter, Sue Trew and will be available at all five of the Best of Barbados Gift Shops in November. The islands appear in alphabetical order in the 162 page book. Here are a few pages so you can have a sneak preview! For further information contact Sue

Tel: 266-6901

Historic Houses of Barbados Written by Henry Fraser & Ronnie Hughes.

GROVE/ON THE WALL ART GALLERY At Limegrove, Holetown Mon - Sat 10am – 6pm 246 234 9145 Curator Vanita Comissiong

GALLERY OF CARIBBEAN ART The Gallery Of Caribbean Art Galleries presents the works of a variety of artists Northern Business Centre, Queen Street, Speightstown, St. Peter

Tel: (246) 419-0858

The Barbados Photographic Society held its AGM Sunday 20th January, 2018 at UWI, Cave Hill, Barbados. We would like to welcome the new Executive and officers (please see listing below). The new Executive looks forward to serving you, with the help of all our members. Do write to us and put your ideas for events, workshops, exhibitions and more. Please know that the BPS Executive gives of their time, expertise (in different fields and knowledge) for free so we ask that members be willing to step up to collaborate and work on their ideas. Write to us at Within a few weeks we will have a draft for members of Field trips, events, monthly themes on our Facebook page for you to join into, exhibition ideas and much more. Members plus those who may like to join the BPS who could not make it to the meeting may contact our Treasurer, Sherlock Lord (231-5053) and make arrangements to pay. $65 for new members, $45 for annual renewal. Being a member gives you Open Wall with talks and workshops, Field Trips, exhibitions at galleries plus online exhibitions, competitions (with prizes), travel to countries with the BPS, percentages off at supporting businesses and more. BPS Facebook page / BPS Website BPS email

Specialising in art supplies for the professional to student level. Offering a wide range of products OILS ACRYLICS WATERCOLOURS Golden Paints and mediums, Gamblin, Cotman, Liquitex, Reeves, Galeria, Sargent. Plus a wide range of drawing and colouring equipment. Prisma, Derwent, Reeves, Sargent, Charcoal and Pastels. Easels, Canvases, Watercolour paper, Drawing and Pastel paper. Screen printing and lino block printing supplies.Fabric paint and dyes. Waxes, pottery tools, stencils and more. Monday – Friday 8.30am – 5pm Saturday 8.30am – 3pm. Sunday Closed. Telephone/Fax (246) 436 2950 James Fort Building, Hincks Street, Bridgetown

THE BARN ART CENTRE The Barn Art Centre. A new art space. "We are offering approximately 650 sq. ft. of space for short term rentals for art and craft related workshops, classes, events, summer camps, yoga, etc., in an old plantation yard at Small Ridge in Christ Church. Juliana Inniss - 231-0335 Jo Anne Johnson - 253-8702 Email -

Created in 2016, The Barn Arts Centre is dedicated to the promotion and development of art-based learning. Our mission is to provide a unique learning environment for diverse audiences to experience a range of art based programs. The Centre provides a space for the community and local resource persons to offer and conduct classes and workshops in painting, drawing, pottery, and textiles. We are dedicated to providing an environment that is meaningful to the arts in Barbados. Located on the breezy Small Ridge Plantation in Christ Church, (just ten minutes away from Sheraton Centre. The Barn Arts Centre offers an escape from the quickening pace of life. Here you can be immersed in an environment that fosters your creativity. Our 570 square foot studio is equipped to provide more than adequate space to conduct a variety of classes and workshops. The studio is well lit and ventilated and can comfortably accommodate up to 15 persons. We offer a variety of opportunities for learners, including exhibitions, artist lectures, and single workshops, as well as adult and youth classes. Our artistic programming continues to be essential to our goal of inspiring creativity, fostering self-discovery, and nurturing an appreciation of the arts. The Founders of The Barn Arts Centre are Jo- Anne Johnson and Juliana Inniss. Jo Anne started doing ceramics as a hobby in 1982 and has operated a ceramics studio since 1987, providing services and supplies to people who wished to do slip casted ceramics as a hobby. She has taught many different finishing techniques to her students and learnt many more through experimenting, and trial and error. Juliana has been working with pottery and ceramics since 1992. She began by hand-painting local pottery with bold and colourful designs. After graduating University she made the decision to pursue her passion for art through the medium of ceramics. Juliana has worked with a number of techniques such as casted ceramics, handbuilding, surface decoration and raku firing. Juliana was first introduced to Raku in 2006 during a two week residency in St. Thomas USVI, with this exposure Juliana began mixing her own glazes, constructed her own kiln and has been Raku firing since then. /

Books: Barbados Bu'n-Bu'n - Nyam Jamaica Culinaria: The Caribbean e-books: Shake Dat Cocktail, Cocktails & Hors d'Oeuvres, Barbados Bu'n-Bu'n (4 vol), Nyam Jamaica (2 vol) (see website) Gourmand World Cookbook Awards: Barbados Bu'n-Bu'n: Best Cookbook of the Year, Best Self-Published Book, Best Historical Recipes, Best Cookbook Design for Barbados (2014) 'Best Self-Published Book In The World' (2015) Nyam Jamaica: 'Best Design In The World' (20082009) - honoured 2015 at Frankfurt Book Fair for the 20 years of Gourmand World Cookbook Award - Best of the Best Design In The World (2015) Caribbean Tourism Award (2009)

Barbados Bu'n-Bu'n This amazing book by Rosemary Parkinson is on island. Two hard cover coffee table books, with a sleeve that encloses both, 656 pages and 1400 plus photos filled with history, tradition, culture, stories and recipes from Barbados.


Barbados Bu'n-Bu'n, a collector's item, has won 4 awards for Barbados – Best Photography, Best Design, Best Historical Recipes, Best Self-published Book – then against 5 of the best books in the world WON Best Self-Published Book In The World and honoured at the Frankfurt Book Fair 2015 with Best of the Best In The World by the Gourmand World Cookbook Awards 2015.

Barbados Bu'n-Bu'n has been called "a national treasure" and is being used by our BTMI and BIDC as gifts for dignitaries. is available at Cloister Bookstore, Relish Limegrove, Sandy Lane Golf Club, Cafe Coffee at Washington House, Barbados Golf Club (Durants), Holders Farmers Market (Sunday), Artsplash Gallery (Hastings), just to name a few. For wholesale enquiries (3 or more) call HILARY KNIGHT at 246 432-1169 OR MESSAGE ROSEMARY PARKINSON ON Facebook. BOOKS NOW AVAILABLE IN ENGLAND.

“Come with me. Experience pipes that stan’. Boards that jukk. Jars that are unripe monkeys. Frogs that whistle de tune of a band tucked and a goose on four legs that doan mess with a perky gutter. Hucksters and markets. Farmers and food. Secret recipes deep inside Miss Harriet Boyce and Mrs Jones…man dem gots a mobba-ton o’ tings gine on! Meet Miss Carnetta and she bush fuh medicine; and de pork dat is fat but does like to swan ‘roun a Bridgetown street while sugar an okra-mush hit de artsy-fartsy theatre in Christ Church wrapping up de gap, while reggae swarms ovah de bar hold up wid boisterous wild boars! Music and love. Leh muh show you how to sip on swank with sunsets and full moons but Lawd, as You is my Shepherd, help muh to mekk de people dem beware of donkeys of steel ‘cause Shaggy Bear gots Miss Sally in de pot and she wining an’ dancing to she own tune. Follow me closely when Crop Over done an ‘Kissmuhwillwill’ mount he rums in a shop at Sweet Bottom, happy as breadfruit in a pickle when truff be known. I gine show how a one an two muss dance cuz a cutter ent a cutter wid’out Cuzz, and how the taste of jam dat is jelly sweet cause de peppah hot! Buh wait…I cyan’t forget we gots a cake made with fish in a pot dat bucks. An’ salt baths fuh Sunduh pork too, caw Miss Clarke seh one should’ah nevah eat an forget always remembering an eyeful en a bellyful although, we does know she born a lickmout! So follow de adventure as I turn to history. Great houses and chattels. Bussa & Rachel. National pride. Fish that fly and one dat snaps on anudder called jack. Learn that coucou is not a bird but does eat nice wid a cat dat lives in de sea. Doan tell a soul buh I even teach ’bout lobsters wearing slippers, and tamarind with balls, an bitches black an sweet, men dat does drink beers in banks. Believe you me – BARBADOS BU'N-BU'N gine spill de proverbial beans.. caw I ent known fuh keeping no secrets.” Now as an E-BOOK:

TANDEM "where function, form and meaning coexist ". This cooperative project and design store showcasing contemporary design by Barbados resident designers and artists continues at The Colonnade Mall, 1st Floor, East Wing, Broad Street, Bridgetown, Barbados. Monday ( by appointment). Tuesday - Saturday 10AM - 4PM.

Fresh Milk would like to thank everyone who worked with us, supported us, or took an interest in our programming & the fabulous work being done in the Caribbean arts last year. We look forward to an exciting year ahead, and invite you to reflect on 2017 with us through our annual year in review newsletter!

BARBADOS ARTS COUNCIL BAC Gallery, #2 Pelican Craft Centre, Bridgetown (246) 426 4385

ABOVE BARBADOS Have a look at the higher resolution image (and zoom around) at Would you believe this is a reduced/resized image - the original is double the width/height! Above Barbados offer high-definition aerial photography and video, packages available from $500BDS. Contact Above Barbados today on 231-9583 to discuss your requirements and let us get those stunning shots from a new perspective! Like us on Facebook Follow us on Twitter Join us on Google+

NIKOLAS SEALY ns/446661088688420?ref=hl

ICIL PHILLIPS’ Theatre Eyes Very up to date on both local theatre and overseas happenings. Link here


The Festival Art Gallery is a mobile art gallery showing in excess of 50 local Barbadian artists who are painters, ceramic artists, sculptors and photographers. Bringing Art To The People kathymyearwood@gmail.c om

'The Coral Stone Village Meeting' by Philip King Each piece which has been positioned and topped with other pieces of coral stone. In rows. The front row close to the sea appear to be 'the elders' as they have a little more space between themselves and the 'people'. Created by an Philip King who lives up by Cave Hill. who comes during the week to Batts Rock Bay to build these 'meetings' of coral. It is ever evolving as some are vandalised or the sea knocks them down.

ON THE WALL ART GALLERY On The Wall Gallery at Champers Restaurant, located on Accra Beach Monday - Friday Noon-4pm and 7pm-11pm . Please call for weekend hours. 246 234 9145 On The Wall Gallery At Earthworks. Monday - Friday 9am - 5pm Saturday 9am - 1pm

Closed Sunday

On The Wall/Grove Gallery Mon - Sat 10am - 2pm and 4pm - 6pm email Vanita Comissiong

tel 246 234 9145


FRANGIPANI ART GALLERIES 1. Sugar Cane Club, Maynards, St Peter,Tel. 422 5026, Ext.5037 2. Savannah Hotel, The Garrison, St M.Tel. 228 3800, Ext. 3823 3. Almond Beach Resort. Heywoods, St. Peter.Tel. 422 4900, Ext. 5864 All galleries open every day except Sundays from 9am to 5pm, closed for lunch 1 to 1.30 pm., with the exemption of Almond which is open on Sundays also.

THE FRAME & ART COMPANY & GALLERY Millhouse, Canewood • St. Michael, BB 11005 • Phone (246) 271-6509 • Cell (246) 266-9432

Fresh Milk supports excellence in the visual arts through residencies and programmes that provide Caribbean artists with opportunities for development and foster a thriving art community. Founded in 2011, the organization offers professional support to artists from the Caribbean and further afield. Fresh Milk seeks to stimulate critical thinking and cultivate excellence in contemporary visual art. Its goal is to nurture artists, raise regional awareness about contemporary arts and provide Caribbean artists with opportunities for growth, excellence and success. Website: Facebook: Twitter: Instagram: Youtube: Tumblr:

THE CRANE GALLERY The Crane Gallery is the centre piece of the historic Crane Resort and hosts the work of an eclectic mix of established and up-and-coming Barbadian artists. For more information call 423-6220 or email

Tides Gallery Tides Restaurant Balmore House, Holetown, St. James Tel : (246) 432-2084 Email:

Cell (246)230-1968

Museum of parliament The Museum is open on: Mondays, Wednesdays, Thursdays and Fridays from 10:00 a.m. to 4:00 p.m. Saturdays from 10:00 a.m. to 3:00 p.m. Guided tours are conducted subject to availability. Barbadian students with ID have free admission to the Museum. nt/59

BLACK ART STUDIOS Durants Village, Holder's Hill St. James

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

THE ARTSPLASH CENTRE Paint * Draw * Create & Have Fun!

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


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



Errol Barrow Centre for Creative Imagination, UWI For further information, contact De Carla Applewhaite at 417-4776


Queen's Park Gallery

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 Annette Nias Cultural Officer - Film and Photography 424-0909 Ext 238

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 FRAMING STUDIO At the Best of Barbados Head Office, Welches Plantation, H’way 2A

573 6904

THE FRAME & ART COMPANY Millhouse, Canewood • St. Michael, BB 11005 • Phone (246) 271-6509 • Cell (246) 266-9432 ART SUPPLIES THE ART HUB James Fort Building, Hincks Street, Bridgetown, St. Michael. Tel: 436-2950Monday - Saturday 8.30am - 5.00pm (Easy access to parking by the old Heliport Pad) LAURIE DASH, Bay Street, Bridgetown.

eat. drink. play +1 (246) 432 3663

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


Published by Corrie Scott Barbados, West Indies

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