BARBADOS ARTS EVENTS
Cover Art Photography Alison Chapman-Andrews
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
Welcome to Barbados Monthly Arts Events Thank you to the Gallery of Caribbean Art and The Art Hub who have teamed up to pay for an upgrade for this magazine through 2017. This means The Visual Arts Barbados Magazine may now be viewed with no ads and downloaded. 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 creative event to get in contact with me at firstname.lastname@example.org and I will add a free page for you. Letâ€™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
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 www.artgallerycaribbean.com
Tel: (246) 419-0858
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INTERCONNECTIONS Written by Nick Whittle https://aica-sc.net/2018/01/18/interconnections/ I have known Alison Chapman-Andrews for nearly forty years and during that time l have written about her work in catalogue essays and her entry in Art in Barbados: What kind of Mirror Image? In addition, we have exhibited together, Collage and Coincidence, 2002 and on most Wednesday afternoons we talk art and look at her most recent work. It has therefore been surprisingly difficult to write again without repeating what has already been written. It is because of this familiarity and closeness that l decided to explore different interpretations and philosophical viewpoints to examine the work in this exhibition. Alison Chapman-Andrews has been investigating the Barbadian landscape for almost fifty years, through sketchbooks, drawings and paintings. Her library of sketchbooks represents an archive to the evolution of each work. And it is in these sketchbooks that we realise that drawing is the key to all her work. “.. it is easy for me to draw, it’s always been ahead of my paintings … my training was to notice things – to draw and to draw precisely.”Each book shows the initial drawing or part of a photograph which is cut and rearranged or expanded until the final composition is reached. Alongside these drawings are colour tryouts, experiments in a variety of media and written notes to herself. Chapman-Andrews is the consummate artist. She works everyday: drawing or painting. They take a little longer than they used to but she remains astoundingly productive. Her oeuvre is full of experimentation and artist set challenges, such as the portraits and figure paintings. But it is her landscapes which have become synonymous with Barbados. I have even heard people refer to a particular view as a Chapman-Andrews: despite the fact that most of her paintings are made up from multiple viewpoints and as such are not views. The landscapes of Chapman-Andrews are not the man-made landscapes of sugar cane fields which we see every day but a Barbadian hinterland: the hidden crevices and gulliesscattered across this island which escaped sugar cultivation. It is these almost primordial spaces which inspire Chapman-Andrews to create her mystical landscapes. When looking at her work I am reminded of works by the English artists William Blake (1757- 1827) and Samuel Palmer (1805-1881). It was Blake who said, “Not everybody sees alike: a Tree that moves some to Tears of Joy to other Eyes is just a green thing in the way.” Chapman-Andrews sees her Barbadian landscape like no one else and her best paintings convey the same emotive power we experience standing before a wondrous vista: time stands still, we feel different, we are in a state of joy. In a similar way, her paintings demand we spend time in front of them looking so they can do their work.
“For some time now it has seemed to me that the two questions we should ask of any strong landscape are these: firstly, what do I know when I am in this place that l can know nowhere else? And then, vainly, what does this place know of me that l cannot know of myself.” This is why people return to museums and galleries and stand before the work they have seen many times before. They bring a new experience to the dialogue and discover something in the process. It is therefore a delight for those of us familiar with the Mark Hunte Collection to be able to see these works again and on this occasion, in the context of other significant works. When Alison Chapman-Andrews first mentioned her idea for this exhibition l started to imagine how the works would relate to each other in the gallery. How would each painting interact with another and what connections would be made? A question which can only be hypothetical at this stage but one which deserves further exploration. At this point it is a question only Chapman-Andrews could answer. An artist creates against their own back catalogue of works and understands how they relate to each other. But, however they relate and communicate, it will be through the uniqueness of the viewer. I recently read about new research being undertaken at a forest in Hümmel, Germany and it prompted me to think of the interconnectedness of these paintings. The researchers revealed “… a vast underground network, called a mycorrhiza, in which fungi connect trees of different species by passing chemical and electrical signals among the trees’ roots. It was an arboreal Internet—christened the “wood wide web.” Trees could actually communicate by exchanging carbon through their roots. This network allows trees to communicate with each other, sharing food and warnings of danger.” What can these paintings collectively offer the viewer? Even though these works were not commissioned for a particular space, like the Rothko Chapel in Texas, I believe collectively they will offer a “direct means to aesthetic ecstasy.” Jules Evans recalls a period when all the arts were seen as “techniques that could connect one’s spirit to the spirits of other humans (dead or alive), to nature and the gods.” Hers are not simply, what the eye can see landscapes. They are charged through a combination of rich pattern, colour and texture to take us on a journey. They aspire “… to transgress the individual.” In an exhibition of this scope it is impossible to write meaningfully about all the works on show or even a select few. l have instead, attempted to offer a way of looking and interpreting through citing a few favourite paintings.
There is, as in nature herself, an undercurrent eroticism in such works as Blackman’s Gully, 1980. The final composition was constructed from multiple drawings from different viewpoints and directs the viewer to look deep into the rich patterning of the gully. It is a quilt of textures framed by erect palms with the landscape falling away on either side. “What sets off those paintings … is their intensely sensuous transformation of observation into concentrates of experience. In “… Blackman’s Gully and numerous others, the motif is translated into an ecstatic, resounding ‘now’, echoing into eternity.” The composition of the palms on the left are reimagined in two other paintings; The Kite, 1980 and the Last Day in the Country, 1987. “One compelling feature of these paintings is the importance given to the top and bottom of the canvas. Much landscape painting … persuades the viewer to scan the picture from left to right, or from side to side. Alison’s work, remarkably, persuades the viewer to ignore the sides and view the work from top to bottom. This has the effect of placing the viewer within a very specific pivotal space despite the fact that “ground” or “sky” are seldom explicitly shown.” During this period Chapman-Andrews would often drive around the island searching for views which could be incorporated into paintings. As a result, “some of these paintings have whole books of sketches.” The Kite also shares the same high horizon line with the Last Day in the Country but stylistically they couldn’t be further apart. The Kite is one of her most abstract and lyrical paintings. Chapman-Andrews created an accurate ceramic relief of the final composition to observe the tonal values. For her “… colour is not the most important thing …” The vertical Royal Palms emerge from an undulating landscape punctuated with feminine biological plant forms. To the right the free-spirited kite is caught in the menacing tentacles of the Maypole (Agave).\ Yet she punctuates the Last Day in the Country with a deft Vermilion line on the descending frond on the left, on a banana leaf edge between the two palms and in a graceful horizontal curve to the right in the middle distance. It is these touches which the painting cannot survive without – they make it work. She told me her use of red was inspired by the 1930s paintings of Kandinsky. « One drives up a hill and suddenly the land falls away and a vista opens up. If one can also see the sea that is a magic moment indeed. For me one of those places is Mount Hillaby.
From Mount Hillaby, 1983 is a view from the highest point in the island. There are no Royal Palms dominating the composition. Instead we look down on a patchwork of chattel houses dwarfed by the enclosing landscape. The painting is a rarity in the artists’ oeuvre in that it carries a social/political commentary. “The scene is a typical realisationof the plight of the poor in the Caribbean rural scene. Their chattel houses are precariouslybalanced on terraces of ‘rab’ land that no one else wants. The artist wanted ‘to express a social thing as well … it disturbs me when l see other artists painting this view … how little they have seen.’” Surrealism has been a thread which has run through much of her work, sometimes obviously as in Birthday of Plants, 1984 but more often as an underlying current of incorporating dream and fantasy into the everyday experience, whether it be through the eroticisation of nature or in works such as Revolving by Moonshine, 1994. Here the sumptuous purples which dominate the composition were inspired in the kitchen, where the artist was peeling an aubergine. It is a painting where we experience “… the life of the spirit as seen through the senses.” Above the familiar high horizon line are two moons transitioned from dark to light or eclipse to full, separated by vertical trunks. It is “… a richly textured work which suggests the passage of time. The right-hand section of the composition is dominated with strong vertical palms which are constructed by overlaying paint. To their left, the fruit of the palm, Veitchiamerrilla, are transformed into a vibrating pulsing sphere of cosmic energy. It occupies a space directly below the darkened celestial body as though it has descended to bring magic to the gully below.” Chapman-Andrews has also produced a number of paintings which are intimate in scale and observation. The earliest in this exhibition are Sealy Hall Evening, and Christmas Candles both 1978, together with Real Ripe Mango, 1982. In all these works the human presence is not far away. Sealy Hall Evening conveys a joy of pattern making and paint application. There is a sureness in the ability of her mark-making to suggest a variety of vegetation. The composition is full of movement and the passage of time; the white plumes of the wild canes, birds in full flight migrating to their evening retreat, creating an X in the sky and the hind quarters of a cow disappearing around the corner. To the right, across the road, the white walls of the enclosure for a standpipe – another reference to the human presence in a lush landscape.
The Cosmic energy we experience in Revolving by Moonshine reemerges, more figuratively, in later works such as Red Coconut, 2012 and Cane or Grass, Clayburby Plantation,2014. In both there is a potent female/male duality. In Red Coconut, 2012, the patterned trunk of a coconut tree erupts diagonally against colour fields of yellows and reds of such intensity we can only speculate whether this is an end or beginning. To the left the lines of an x-rayed coconut leaf fall against a blinding light while a green sun/moon hovers within the narrow band marking a horizon. Its yellow outline buffering it against a dark red. To the right the green coconut leaves vibrate against its opposite colour. Like so many of her works, the introduction of small touches of a complementary colour make it whole – we cannot imagine the work without it. In Cane or Grass, Claybury Plantation,2014 we see a return to the emblematic Royal Palms we have seen before; but now we are focused on the spherical flower/seed mass repeated across the canvas, creating three arched windows onto a setting sun, burning across the horizon. Hadchity sees “… a furnace of cosmic destruction and creation.” Below we see a bleached-out view of Claybury. The colour is reminiscent of YellowHillaby and Burnt Hillaby both of 2013. Compositionally, however, Cane or Grass, Claybury Plantationis very different. Here we are looking down and straight ahead. In the left-hand window Chapman-Andrews underlines the spheres with an undulating line of palms, suggested with the barest marks together with a faint red line, which appears in the last window as the familiar descending Vermilion accent we see in The Last Day in the Country. But this is not a graceful curve – it is a line spent of all energy. In such works, we observe Chapman-Andrews reassemble familiar imagery from sketchbooks and paintings to produce a dialogue between works spanning several decades. When an artist is in an act of creation it feels as though you are jumping off a cliff without a parachute and then everything falls into place – as it so often does in these works. According to David Hockney, each painting is “an account of looking at something … [but each has] … a limit to what it can see” and in so doing the viewer is teased with the promise of other views, hopefully in other paintings. It is this concept which has sustained Chapman-Andrews interrogation of the Barbadian landscape for almost fifty years. Nick Whittle December 2017
“And the day came when the risk to remain tight in a bud was more painful than the risk it took to blossom “ Anaïs Nin
50 I 50 - Two possibilities - One choice Rachel Mouttet 50/50 Miniature Collection firstname.lastname@example.org
"Contemporary Art/Contemporary Issues“ a group art exhibition 26th of January 9th February gallery day and hours. Wed Sat. 11am6pm Curated by Sheena Rose 1st River Road, Bridgetown, St Michael, Barbados. Upstairs/ Studio Space. The Artists are Adrian Richards @adriansworldinphotos, Alanis Aaliyah@alanis.art, Anna Gibson _ @anner_er, Jared Burton @artmakr, Kupa @a_god_name_kupa, Ronald Williams @r.o.j.williams, Simone Asia@simoneasia.art
"King in a Snowstorm" done by @artmakr , Jared Burton is one of the eight artists that is showing in "Contemporary Art/Contemporary Issues" Exhibition Artist Statement I use my work to explore stereotypes and notions which surround the black body. As such my work primarily exists as a means for me to gather a greater understanding of my own identity; along with the multifaceted nature of the blackexperience.Where as my previous body of work strictly dealt with notions surrounding Caribbean people; I felt it was necessary to place a greater emphasis on black people. At a time where identity politics and racial profiling are becoming increasingly relevant I believed it was necessary to create these particular works.In an effort to dissect ‘blackness’ and ‘black culture’ and the contentious ideas which surround it. I created these paintings which specifically look at internal conflicts within the black community as well as labels which seek to define black men.In creating these works my hope is that viewer can recognize that ‘black culture’ is not limited to any one notion or experience but is instead, indeed, com
"Rebirth" done by @anner_er , Anna Gibson one of the eight artists showing in " Contemporary Art/Contemporary Issues" Art exhibitionÂ Artist Statement This body of work intends is to explore and expose the vulnerabilities women have about their differences to each other, and how they seek to physically mask or morph their bodies, to achieve acceptance within their cultural, racial and social environment. Progressing with evaluation of physical insecurities surrounding the female body, this new artwork explores the process of evolving, the physical self, using various beautification methods. With references from plastic surgery procedures, beauty cosmetics, as well as jewelry, the self is presented transitioning into a hybrid body. Painted on raw distressed canvas, the female figure holds a confident, but uncomfortable stance, while her surgically enhanced body is restrained and pierced with gold wire, jewelry and stitches. Each addition to the figure manifests a new creature crafted by insecurities. Opening hours Wednesday -Saturday 10 am -6 pm, location 1st River Road,
"This Beach belong to we" done by @adriansworldinphotos , Adrian Richards is one of the eight artists that is showing in "Contemporary Art/Contemporary Issues" Exhibition Artist Statement Being a black man in post-colonial Barbados is a battle that is played out both internally in oneâ€™s subconscious and conscious thought processes and externally where your appearance i.e. the colour and shade of your skin presents you to the world and positions you in a discordant relationship within the country of your birth; how you see yourself and how you are seen. Discordant in that Barbados where the native population is over 90 % black, colonial attitudes are perpetuated by blacks themselves to ensure the continuation of tropes and ideas that negatively impact you because of your skin shade and therefore perceived class and ultimately worth. These attributes on the other hand are alternatively sexually adored and objectified both by locals and by some visitors particularly those flocking to our shores for clandestine activities (sex tourism) which are open secrets. King Dyal, a somewhat mythical local character renowned for his showmanship and anti-black attitude proudly displayed by the way he dressed and acted, embodies this discord and several years after his death the battle against ourselves continues and seems to represent a desire for re-colonialisation via tourism and other government backed investments. Through these photographs, I am exploring this discord. Opening hours Wednesday -Saturday 10 am -6 pm, location 1st River Road, Bridgetown, St Michael. The exhibition ends on 9th of Feburary 2018.
Barbados Today reports on Sheena Rose's 'Contemporary Art/Contemporary issues‘ https://www.barbadostoday.bb/2018/01/31/on-show-5/ Since January 26, contemporary artist Sheena Rose has been acting curator of the Contemporary Art/Contemporary Issues Group’s art exhibition. The showing, which runs until February 9, features 15 works from Adrian Richards, Alanis Forde, Anna Gibson, Simone Asia, Jared Burton, Ronald Williams, Matthew Kupa Murrell and Adam Patterson. Speaking to Bajan Vibes at her River Road, St Michael studio where the two-week exhibition is being held, Rose stressed the urgent need for a permanent home for artistic expression on the island in the form of a national art gallery. “I would like after this that the Government and people could see that we do need a national art gallery, that we do need spaces . . . so we have work that is speaking and is also valuable,” she said. Rose, who was recently featured in the New York Times for her innovative and unconventional works, said her aim was to highlight the difference between tourist art and contemporary art. “Tourist art is more like a souvenir, while the contemporary art is more addressing the reality of our space,” she explained. “If we don’t know contemporary art in Barbados and only know tourist art, how can we push contemporary art? So we need to see more of it to understand it and appreciate it,” she added, while suggesting that contemporary art should be added to the primary and secondary schools’ curriculum. Since its opening earlier this month, over 500 art lovers have viewed the exhibition which discusses, through its works, issues such as racism and classism. In his piece, This Beach belong to We, Adrian Forde examines how Barbadians are prohibited from going to certain beaches, while upcoming contemporary artist Alanis Forde explores the things artists do to survive financially. Rose, who is a visual arts teacher at the Barbados Community College, said the exhibition has fulfilled her objective of garnering interest from local and international buyers. “I wanted to advocate or show people that there are possibilities of having shows even in a construction site and it is somewhat embarrassing because we should have spaces that we can have more shows,” the Fulbright scholar said. “I wish that more people would see the importance and value in art because it adds so much for the country,” she emphasized
SHATTERED – From Anguish to Rebirth
“The word ‘shattered’ could sum-up the condition of the world in 2017. Many of us felt our own insignificance and inability to change world events, but these happenings fuelled us to change ‘our own world’ with a call to life, love and compassion. We raised funds, we protested and stood in solidarity, we cried for the loss of life, we prayed for healing and we meditated in hope of better days. For many artists the notion that things were broken beyond repair felt real. We expressed it in our work, using our art to continue the conversation on being fractured, being pained, and the growth and rebirth that emerges, that is, LIFE. This is highlighted in the works of this exhibition. Some of us discuss all aspects, some of us parts, but collectively we explored the idea that all humanity has its challenges, that we experience differently. We choose our own several ways to work through them. ‘Mushin’ is the Japanese philosophy of "no mind" ( 無心 mushin), which encompasses the concepts of nonattachment, acceptance of change and fate as aspects of human life. It is deployed in the Japanese Ceramic Art form ‘Kintsugi’ as the art of broken pieces that treats breakage and repair as part of the history of an object rather than something to disguise. Finding the beauty in damage is one of the concepts that this pop-up exhibition aims to relate. In choosing the location for this show, we thought about the physical spaces we go to when shattered. They are many, but not all suitable for the showing of Art. The St. George Parish Church topped the list. The church has been one of the main patrons of The Arts through the centuries. Through the stained glassed windows, the paintings of enlightened beings, the amazing floral decorations and epitaphs we can feel the connections between anguish, beauty, God and Art.” Oneka Small 822-3694 Artists Alliance Barbados 31 January 2017
THINGS THAT MATTER: Caribbean Wax Museum, The Land and other Fine Art Treasures Sir Henry Fraser
The Caribbean Wax Museum, the brain child of sculptors Art Edwards and partner Frances Ross, has just been relocated from Maxwell’s to the centre of Bridgetown, in the Norman Centre on Broad Street. As the website says “The idea was to capture life-size popular Caribbean personalities in wax for posterity”. And they’ve done that with uncanny success. Everyone walking up Broad Street MUST be captivated by the dazzling figure of Allison Hinds, smiling from the Norman Centre show window. When this happens, throw discretion to the winds, even if you’re racing to your next appointment, and dash upstairs to the Wax Museum. Because you’ll never regret meeting a life time of heroes and heroines of the Caribbean and beyond in your brief visit. It’s an impressive list of the best of the best: sportsmen, politicians, performers and icons from every sphere. You’ll meet National Heroes the Right Excellent Errol Barrow, Clement Payne and Sir Garfield Sobers, as well as Prime Minister Tom Adams and Jamaica’s National Hero Marcus Garvey. You’ll come face to face with Usain Bolt and our own Obadele Thompson; with the great singers Harry Belafonte, the Mighty Gabby and Emile Straker of the Merrymen, and our own fabulous composer Irving Burgie; actor Syndey Poitier and actress Jennifer Lopez; freedom fighters Fidel Castro and Che Guevara, Simon Bolivar and Toussaint L’Ouverture; abolitionist William Wilberforce and famous former slave and author Olaudah Equiano; and my favourite of all – Governor General Dame Nita Barrow: her eyes appear to follow you as you walk around the room! The Wax Museum is a must visit for everyone. But of course so is the Barbados Museum, the Arlington House Museum, the Springvale Eco-Heritage Museum, the Mallalieu Motor Museum and all of the 18 other museums of Barbados, rarely featured in our tourism marketing but all worth visiting.
But Norman Centre has much more – it’s now the de facto Art Centre of Bridgetown, and I congratulate the owners for their enthusiasm about patronising the arts, when so few commercial enterprises will. Reggie Medford’s Medford Craft world has opened a new outlet on the ground floor, so you can select from his amazing mahogany sculptures and craft pieces either at his workshop at Whitehall Main Road or at this convenient new city shop. His beautiful creations show just one aspect of what the prized Barbados mahogany can be used for – it’s one of our greatest treasures, undervalued. And Reggie uses both the wood from branches and trunk and the roots. There are also two fine art exhibitions currently on at Norman Centre. I was impressed by the work of Dwayne “Kon Artist” Mayers, who has curated an impressive collection of the work from the young artists of the Barbados Community Development Programme, where he has been teaching for ten years. There was some really good work here, including the wide range of work of Dwayne, who is truly versatile – from splendid portraits and landscape to abstract work and vivid, imaginary space and time paintings. He also provides on site painting and caricature sketching. Oneka Small, now famous for her well-orchestrated “pop up” exhibitions, has another show in the adjoining space. Unfortunately, it was temporarily closed when I visited. Up the road at the refurbished Queen’s Park House is a truly magnificent exhibition: “Alison Chapman-Andrews – The Land”, featuring The Mark Hunte Bequest. It includes new and old work of Alison’s from her own personal collection and loaned by Mervyn Awon, BIDC, The Barbados Museum, Nel Bretney, Cidel Bank, Anne Dodson, the Gallery of Art Trust and others. Central to the show is the Mark Hunte Bequest to the Art Collection Foundation, of many of her early works, which have not been seen since an exhibition at the Museum in 1990. And they’re spectacular – illustrating what we’re missing without the National Art Gallery promised more than 40 years ago. Alison’s expressionist landscapes are dramatic, joyful explorations of nature, the like of which have never been seen in Barbados, where our artists have been generally conservative and landscapes more realistic than expressionist. In a short note in the beautiful catalogue Alison writes: “The magic and majesty of the land was coupled with an obsession with pattern in the natural world and mathematical composition in painting. Barbados through my eyes.”
In his catalogue essay “Interconnections” artist and tutor Nick Whittle writes: “It is her landscapes which have become synonymous with Barbados. They are not the man-made landscapes of sugar cane fields which we see every day but a Barbadian hinterland: the hidden crevices and gullies scattered across this island which escaped sugar cultivation. It is these almost primordial spaces which inspire Chapman-Andrews to create her mystical landscapes.” And he goes on: “… her best paintings convey the same emotive power we experience standing before a wondrous vista: time stands still, we feel different, we are in a state of joy.” And the apparently intuitive, powerful and evocative compositions suggest an impossible outpouring of emotion in paint, but they are in fact careful constructions, working from many sketches, to create that spontaneity. As with many writers, there is both great skill and creativity needed to produce that spontaneous result! I was asked which was my favourite in the show. It’s like being asked what you love best about your wife. I quote the poet Elizabeth Barret Browning’s Sonnet: “How do I love thee? Let me count the ways. I love thee to the depth and breadth and height my soul can reach …” But if pushed I would choose three paintings – Below Codrington – Sealy Hall Gully, which expresses my feelings and my memories of the “Below the cliff” landscape of beautiful St. John; From Mount Hillaby, for its sheer power and bold composition, and the triad of Palms – Palm Climber, Long Palm and Surprise Tree. The cabbage palm is Alison’s signature; as John Wickham wrote, it’s the signature of the Barbadian landscape, and she gives us vivid images that sing of the beauty of Ichirouganaim our island Barbados. Don’t miss this marvellous show, which is up until February 24th, Tuesdays to Saturdays, and secure a copy of the superb catalague. It moves us to cry, once again: “When, oh when will we have our National Art Gallery in Block A, the Garrison?” Professor Fraser is Past Dean of Medical Sciences, UWI and Professor Emeritus of Medicine and Clinical Pharmacology. Website: www.profhenryfraser.com
"Landscapes in Miniature" La Casa del Habano, Limegrove Lifestyle Center Holetown, Barbados, W.I. Jan 19th â€“ Feb 18th Peter Sheppard, a Trinidadian Artist, with a niche in Miniature Painitng. A member of The HIlliard Society of Miniature Painters in the U.K. and President of the Art Society of Trinidad and Tobago. Peter is exhibiting his award winning miniature art. The paintings will depict flavours of the cocoa and coffee lands of his native, Trinidad.
ART SUPERMARKET AT QUEENS PARK GALLERY DECEMBER 2017
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 email@example.com 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 https://www.facebook.com/groups/Barbadosphoto / BPS Website https://barphotosoc.wixsite.com/home BPS email firstname.lastname@example.org
BPS EXECUTIVE President. Victor E. Gittens Vice President Raymonte Forde Secretary Sybil Mary Edghill Treasurer Sherlock Lord PR Corrie Scott Floor member Alison Elliot Floor member Jacqueline Norville
FIELD TRIPS Markley Bryan Kevin Culpepper Mark Wellington Jeremy Greenidge Mark Wellington Jeremy Greenidge Corrie Scott EDUCATION COMMITTEE Patrick Richardson Charles McClean Ansley Weekes Cheryl McCollin
WEBSITE Hugh Walker Niaz Dokratt Nicole Phillips Bradley Benskin EVENTS Jenny Gonsalves Nicola Hutchinson Niaz Dokrat Markley Bryan
ASHLEY AYIDA NASH
BERNARD WALLACE POOLER
‘ Masters- History & Infinity exhibitions. Barbados. August 2017 Queen's Park Gallery Featuring Stanley Greaves ( Guyana), Ras Ishi ( Barbados) and Nick Whittle ( Barbados). Exhibitions opened daily August 19th-26th from 10 am – 6pm. Curator Therese Hadchity. Art photographed by Corrie Scott
Link to online album https://goo.gl/photos/G9k4WpqGhieuR5VX9
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! https://mailchi.mp/d52406dc901a/fresh-milks-2017-in-review
FRESH MILK Mission: 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 Vision: To nurture, empower and connect Caribbean artists, raise regional awareness about contemporary arts and provide global opportunities for growth, excellence and success Tag-line: Critical. Creative. Fresh. The idea for Fresh Milk developed over years of conversations around the need for artistic engagement among artists in Barbados, to strengthen regional and diasporic links and shape new relationships globally. The platform was established in 2011 as a social practice experiment to counter the nearly 100% attrition rate of BFA students at Barbados Community College, the only institution on the island offering a BFA program. Fresh Milk is located on a working dairy farm; however, the name is also derived from the act of women turning their blood into milk to nurture their young. Given the traumatic history of the Caribbean, the region is not always associated with the idea of nurturing. By offering a safe space for people to innovate, gather, and create, Fresh Milk engages in an act of resistance, moving against a traumatic history as a platform of excellence and diversity. Operating out of a former seventeenth-century sugar plantation, Fresh Milk aims to shift the kind of activity that happens in this historically loaded site by fostering an open, critical environment. Fresh Milk spans creative disciplines, generations, and linguistic territories in the Caribbean by functioning as a â€œcultural lab,â€? thriving as a dynamic space for artists through local, regional, and international programming including residencies, lectures, screenings, workshops, projects, etc. We aspire to be a sustainable organization contributing to a healthy cultural ecosystem. Contact information: email@example.com Like us on Facebook: facebook.com/FreshMilkBarbados Follow us on Twitter: @FreshMilkBdos
Westindian Squared In solidarity with West Indian women and justice and Yugge Farrell, Susan Mains of Grenada will exhibit this painting. Barbadian Singer Song writer Amber Stone will sing just released "Free Yugge" Sunday February 11th, 5 pm at The Gallery of Caribbean Art Northern Business Centre, Queen's St., Speightstown, St. Peter, Barbados.
SUSAN MAINS www.susanmains.com
TIYI BY DESIGN www.tiyibydesign.com
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. https://www.facebook.com/tandemovement/
‘Divine Offerings’ Fri, Dec 1st, Feb 6th ArtSplash Gallery
Featured Artists, Julia Seymour, Andy Pierce, Jenny Gonsalves, Cathy Cummins, Maria Stanford, Sian Pampellone, Heather Dawn Scott, Lorna Wilson, Gordon Ashby, Catherine CheeATow, Margo Atkinson, Natasia Rollock, Yasmin Vizcarrondo,. The Gallery opens daily 8am to 3pm Curated by Lois Crawford.
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 - firstname.lastname@example.org
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. https://www.facebook.com/thebarnartcentre /
NIKOLAS SEALY email@example.com www.facebook.com/pages/NS-Desig ns/446661088688420?ref=hl
JUNE SPECIAL! ONLY DIRECT FROM AUTHOR BDS$250 (+ postage if shipping is required). Message through facebook or website. 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. Book Set Price (2 books): US$150 or Bds$300 plus shipping for those overseas. Payment via PayPal, Western Union or cash.
ROSEMARY PARKINSON + 1 246 436 5865 â€“ + 1 246 264 7448 www.rosemary-parkinson.com www.facebook.com/BarbadosCulinaryJourney
Barbados Bu'n-Bu'n, a collector's item, has won 4 awards for Barbados â€“ Best Photography, Best Design, Best Historical Recipes, Best Self-published Book â€“ 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. The book costs BDS$300 ( $150USD) in Barbados, and 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: https://www.amazon.com/dp/B01MXVDSI7 https://www.amazon.com/dp/B01MQT867S https://www.amazon.com/dp/B01N0NZZIM https://www.amazon.com/dp/B01N6E056V
ABOVE BARBADOS Have a look at the higher resolution image (and zoom around) at http://www.abovebarbados.com/sites/default/files/batts_rock_panorama.jpg 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 https://www.facebook.com/AboveBarbados Follow us on Twitter https://twitter.com/AboveBarbados Join us on Google+ https://plus.google.com/+AbovebarbadosPhotography
BAC Gallery Schedule 2017 (Subject to change. Please call the Gallery to confirm) All Work must be at the gallery 3 days before opening
Executive of the Barbados Arts Council 2017-2018. President Neville Legall 1st Vice President Markley Clarke 2nd Vice President Raymond Maughan Past President Rasheed Boodhoo Hon. Secretary Patricia Browne Assistant Secretary Jill McIntyre Hon. Treasurer Allan Ashby Alex Daniel Floor member Larrie Belgrave Floor member Virgil Broodhagen Floor member Wayne Collymore-Taylor Floor member Glenroy Jordan Floor member The Barbados Arts Council Gallery is available to rent at cost of $150.00 per week. (Non Members $300.00) Please apply to the President of the BAC
BARBADOS ARTS COUNCIL BAC Gallery, #2 Pelican Craft Centre, Bridgetown (246) 426 4385 thebarbadosartscouncilgall firstname.lastname@example.org
ICIL PHILLIPSâ€™ Theatre Eyes Very up to date on both local theatre and overseas happenings. Link here https://www.facebook.com/groups/354529934596080/964541386928262/
THE FESTIVAL ART GALLERY At Hastings Farmers Market, Artsplash, Hastings, Ch Ch
EVERY Saturday 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 email@example.com 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 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
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. firstname.lastname@example.org www.frangipani-art.com
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: http://freshmilkbarbados.com Facebook: http://facebook.com/FreshMilkBarbados Twitter: http://twitter.com/FreshMilkBdos Instagram: http://instagram.com/freshmilkbarbados Youtube: http://youtube.com/FreshMilkBarbados Tumblr: http://freshmilk-books.tumblr.com
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 email@example.com.
Tides Gallery Tides Restaurant Balmore House, Holetown, St. James Tel : (246) 432-2084 Email: firstname.lastname@example.org
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. http://www.barbadosparliament.com/page.../show_conte nt/59
BLACK ART STUDIOS Durants Village, Holder's Hill St. James www.facebook.com/oneka.small
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 email@example.com
THE ARTSPLASH CENTRE Paint * Draw * Create & Have Fun! firstname.lastname@example.org www.artsplashbarbados.com
To boldly and brilliantly pursue the adventure in everything artistic and to be a vital and uncommon cultural force in Barbados. www.artsetcbarbados.com
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 tel 436 9083 or 84
Errol Barrow Centre for Creative Imagination, UWI For further information, contact De Carla Applewhaite at 417-4776 email@example.com www.cavehill.uwi.edu/ebcci
BARBADOS MUSEUM AND HISTORICAL SOCIETY www.barbmuse.org.bb
BARBADOS MUSEUM AND HISTORICAL SOCIETY SHOP www.barbmuse.org.bb
QUEENâ€™S PARK GALLERY
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 NCFâ€™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 firstname.lastname@example.org www.ncf.bb Annette Nias Cultural Officer - Film and Photography 424-0909 Ext 238 email@example.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 firstname.lastname@example.orgZ FRAMING STUDIO At the Best of Barbados Head Office, Welches Plantation, H’way 2A
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
www.scarletbarbados.com +1 (246) 432 3663 email@example.com
The quintessential guide to contemporary Caribbean chic. Caribbean travel, homes, cuisine, and people.
Published by Corrie Scott Barbados, West Indies www.corriescott.net
The Visual Arts Barbados Free online magazine.