Barbados Visual Arts November 2018

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Cover Art Photography By Kristine Dear

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


ARTIST ALLIANCE BARBADOS ‘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 Thurs Nov 29th Mon - Fri. 10am-3pm (by appointment only) To make appointment please call 537 1800 or 8223694 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

'ANONYMOUS 2018' exhibition at Frame & Art Gallery "Submissions are now open for the fourth annual 12" x 12" Anonymous Charity Art Show benefitting the Ark Animal Welfare Society of Barbados. The 12 x 12 canvases are currently on sale for $15.00 each at The Frame & Co. Each artist may submit up to four paintings. We cannot wait to see this year's submissions! " Curator Kelly Hammack Gibson Click on the link for show guidelines/submissions: https:// For more information call 271-6509 or email

RAS AKYEM https:// emi.ramsay

‘CELEBRATE OUR WATERS' Group show exhibition in honour of the year 2018 being celebrated as the 'International Year Of The Reef'. The Gallery of Caribbean Art Speightstown, St Peter Opening night reception Sat Nov 10th, 5pm - 8pm Exhibition ends Dec 5th The Exhibition will be opened by The Honourable Kirk Humphrey, MP, Minister Of Marine Affairs& the Blue Economy




Art & Expression, is 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 Gender-based Violence� as we join the challenge to end violence against women and girls locally, regionally and internationally. Artists: Anya Stephen, Doreen Edwards, Karen Birch, Nyssa Haynes-holder, Akilah Watts, Anna Gibson, Llanor Alleyne. Plus a couple more to be announced.

“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

ART CLASSES WITH HEIDI BERGER Contact me at Starts Saturday November 3 (2-4 pm) Paint with me this fall! Great Beginnings.... and some interesting endings! A good painting has good bones: learn (or revisit) how to compose your work. Also ideas on how to start a painting and conquer your fear of the blank canvas. Work from your own reference material. Starts Saturday November 3 (2-4 pm) for four weeks in my Rockley studio. Space is limited. Costs $500. Contact me at

HEIDI BERGER ART CLASSES Starting November 7, I will also be teaching “Painting People”, working from the model occasionally, also photos and imagination. All media except oil. Wednesday mornings 1012 in my Rockley studio. Four weeks $500. Contact me at

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.







































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

JILL WALKER “She was born Joanna Jill Crockford in England in 1927. She knew she wanted to be an artist from a very early age and pursued her passion tirelessly. Determined to break away from the hard post-war years she borrowed money from her father and bought a one-way ticket on a freighter to visit a friend in South America. Travelling simply, with an atlas under one arm and her paints under the other, she set off to make her fortune as an artist and happily, on her very first night, fate would have it that she was introduced to a young bachelor, Jimmy Walker. The Caribbean, in the 1950’s, was an idyllic place for this young couple, setting out together, she the gifted artist, he the ambitious architect. Mum soon fell in love with the people and the culture, painting her surroundings yet unconsciously recording a lifestyle that is now, in places, slowly disappearing. They married and settled happily in Barbados in 1956 and today, over 50 years, 3 children, 7 grandchildren, various pets and numerous gift shops later - and with many, many friends all over the island, they couldn’t ever imagine living anywhere else … … and my Mum still enjoys painting daily”. Sue Trew

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

You are invited to the official Opening of ‘NIFCA 45’ on Sunday, November 11th at 11am at Queen’s Park Gallery. Curated by Janice Whittle Exhibition closes Dec 8th Queen's Park Gallery is celebrating NIFCA at 45 years old The exhibition highlights outstanding artists who have medalled at NIFCA over the years, as well as won significant special awards. The work displayed is not always the award-winning piece but major works by selected artists such as Arthur Atkinson, Alison Chapman-Andrews, Eric Belgrave, Sheri Nicholls, Gail Pounder-Speede, Ricardo Skeete, Stephen Smith, Ewan Atkinson and many more. You are invited to the official Opening on Sunday, November 11th at 11am. It is Armistice Day, so after leaving the Parade, you may join us at QPG. NIFCA 45 closes on Dec.8th.

Adam Patterson /

ADAM PATTERSON “You Cannot Comprehend the Magic”[1]: On Caribbean Linked V and to think you had me believing that all this time and to think that I was feeling left out left behind… I kept asking myself should I bother should I complain or should I build another or my own concept of history or of historical process.[2] And no matter what they say, this main street is nothing. All right. You can’t just say it is banal; it simply does not exist! Yes! […] I say that this town has a charm, simply because it is not a town after all. You said it yourself. It grows out of the ground like a flower. It’s full of people who think they are special because they have salons, services and go for a stroll every Sunday afternoon. But this is not the truth of the town! Deep down inside they are aware of the land around them. Beneath the dummy’s exterior there is a gleam of light. They cannot live as if this were a real town, they cannot run and shout, because this town is a product of the land, not cut off, there is no wall, it’s part of everything, pulling it all together, and what does this mean?[3] You are drunk on the crescendo and decrescendo of a reverberating brass band. It dangles you up and down the pavement in both sticky heat and baffling breeze. Your legs are bound to this rhythm and you catch yourself surprised in finding bliss in this most unusual street. You remember the transience of the festival and, in your ear, the brass rusts to a close; Caya Grandi clears its throat and resigns itself to its familiar rest of people passing through in a most disinterested silence. Whatever rests beneath the plastic sheen – the gimmick of fountains, the question of a decapitated tramline and the perfection of pavement – is not known or remembered by this writer; I am also only just a tourist to this spectacle. The smoothness of Caya Grandi shames the bumps and dents in your face. You find bittersweet relief further up the street, when the shops start boarding up and disorder reacquaints itself through palm trees dishevelled to exploded crowns of overgrowth. The illusion collapses, and the wilderness stares back at you from beneath the cracked eyelids of a failing façade. Tourists are melting, souvenirs have grown sentient, segways have run amok, aloe plants are springing up from sleeping dirt bodies are blooming spikes, the sun speaks in shadows and people speak back from the rooftops, while children have grown several feet taller overnight. Don’t panic; the wall recalls how we were led here. The fifth edition of Caribbean Linked, a residency programme for emergent artists across the region, unfolds at Caya Grandi, where new meaning may be salvaged from those tricky gaps in those built-up stories of ourselves and our stories told of each other.

An Inheritance of Souvenirs Sometimes I dream of islands, all the islands around us… It seems absurd that they should have separate existences, similar islands in the same sea.[4] Discovered by a difficult and devastating normality which stalks him in his arrival, where are the tourist’s stories recounting his own mounting embarrassing strangeness? The premise of Caribbean Linked complicates a region’s citizenry when we become guests in each other’s homes. I tell myself I am of the region and such a fantastic declaration casts my body to corners I have even yet to know. For, perhaps, I can recognise myself in your worryingly familiar face or maybe you will find bits of you in my scattered bones and ashes. Or, perhaps, we will find nothing in common and the strangeness will become overbearing in its divergence of our veins; where our mothers once were cousins but our fathers, competitors of rival tongues and banners. What stories do they tell us of each other, those suspicious brochures cloven in our skulls? What stories – memories – cling to us in the sparkled scar of souvenirs not yet appraised?

A straw-faced doll, drowning in a grinning blue of waxen dolphins, greets our gaze from behind a beaded beard of raffia. At first, shapely and flirty, a boardwalk monument sprouting a sign from her cross of mermaid thighs reading “Your country name,” – a commercial phallus that points us to her demise. Now resigned and disposed, this orphaned toy unwinds in a heap, ripened and dismissed by a hardeyed sun. Averia Wright’s Your Country Name imagines a living souvenir between two sites; a tourismcentred boardwalk near Caya Grandi and a pocket of the Rancho neighbourhood. Glittering with a surface of commercial motifs prominent in the Bahamian tourism imaginary, Wright’s body becomes a screen on which touristic expectation projects itself. Cultural matter becomes a question when we wonder whether these materials of straw, Androsia and raffia, as well as the forms they assume in both Wright’s vision and the Bahamian craft market, are a reliable reflection or simply an economical charade that speaks to touristic desire. How do the stories expected of us affect our cultural and material production? What images of ourselves do we uphold in a repetition that moves parallel to the seasonal arrival of visitors? Wright’s sign becomes a surface in which all viewers may participate in this spectacle of images, fantasies and stories. However, when discarded in the Rancho trash heap, the illusion fails. Rancho, a vulnerable though culturally resilient community that bleeds into the pavement of Caya Grandi, becomes a scene where this wasted fantasy collapses. In being moved to Rancho, we are “suddenly exposed to the assault of reality,”[6] where both ‘paradise’ and the desire to uphold it are absent and out of place, where the souvenir is thrown away as its image melts under the flame of the real. This souvenir, no longer needed, is put to rest.

Franz Caba, Touristic Enhancements, Installation in Caya Grandi, 2018. Photo courtesy of Sharelly Emanuelson

If true utopia defines what is not desired, the gold-land of false capitalist utopia defines what is desired, over and over again. Such present delight enjoyed through the exclusion or exploitation of others is not Eden, it is hell, even if the enjoyer does not realize it.[7] A different souvenir manifests in the work of Franz Caba, where the memento of sunburns is exaggerated to violent yet humorous proportions and consequences. Touristic Enhancements stages a mishap of molten pools of pink bodies bubbling in the sun. Cautioning viewers to avoid the spillage, Caba’s intervention is produced by his own confrontation with the Aruban landscape. Unprepared for the overeager embrace of this same constant sun, Caba, touched with unexpected sunburn, visualises his own position and vulnerability as a tourist. Usually drawing his bodies in twists and contortions, their snaky bones and masses dissolve into puddles of flushed skin, burning red under an indiscriminate sun. Assembled with applications of gauze, Caba’s sculptures have a feeling of being put-together, catered to, cared for; there is a sense of excessive application imagined in processes of rest, relaxation and indulgence as inherent to holidaying practices. In consuming, in being pampered, in abandoning responsibility and in resting to points of excess, the touristic body collapses to a decadent mass of flesh which knows no work or function. Indulging in fantasy forfeits the tourist’s body to the cracks and whims of ‘paradise’, and Caba’s multilingual signs further warn viewers of the potential consequences of immoderate experiences of pleasure. Touristic Enhancements, then, imagines the sunburn as a scarring souvenir; a reminder of the cost of trapping oneself in rituals of overindulgence and succumbing to the throes of fantasy.

The Rise and Fall of Gods We “know” our “history” but there is no Myth to inform us of our origins. […] The Caribbean artist therefore has to design and execute his own Myth regardless of the directions that such a venture would take him.[8] From the dirt beneath your fingernails – all you have gathered in your labour – you will find your gods. No longer forsaken by someone else’s totems, your mouth swells with breadfruit and cassava – all you need to keep you well – and your memory finds its head in mangled roots. The yam hair caught in your teeth is a splinter of gods no longer known to you. Not treading a coherent line, you scratch your way home through limestone plates and the blood of your fingers looks like a severance. You nail trees to your knees and someday you might grow tall enough to see where you came from. If all else fails, you’ll set fire to everything, hoping that the smoke speaks new worlds of comfort to your unreasoned breath. What stories can you dig out in specks from the tender pink of your nail’s underside? What myths do you tell yourself to keep your candles burning, your effigies drowned, your altars lit, your men trapped in jars, your salt lines unbroken, your hexes charged, your spirit whole?

The yolk of the sun is flung back and forth across the horizon, led astray by a chariot – no, a Segway – and its rider, Phaeton falls to the earth; the price of his hubris. Phaeton is invoked by Raily Stiven Yance, where the son of the sun is reimagined as a Segway-bound fallen deity in his work, Manera un Faetón Caribeño. Progressing from a series of allusions, insertions and revisions of ancient Greek myths and folklore, Yance’s pantheon casts a parallel between the basins of the Caribbean and Mediterranean seas, displacing linear and geographically fixed applications of history and mythology. Dismantling the boundaries of European Classical art traditions and the narcissism in which Europe indulges around the screen of an imagined heritage of civilisation, Yance’s oeuvre inserts itself into this canon by dissolving the canon, “undoing the Mediterranean as a European space altogether, opening it up for stories to be told, at least, in disguise rather than in reflection and imitation.”[9] The Segway (as chariot), a touristic object of indulgence, leisure, mobility and discovery, is repurposed as a vehicle for failure and disintegration. Like Caba’s melting tourist sculptures, Yance’s Phaeton is a victim to his own indulgence, whereby losing sense and control, he is doomed to perish. The signified cost of decadence, the cost of illusions of ease, leisure and flight in the mobility of the tourist, the cost of the literal raising-up of the tourist class, are emphasised through Yance’s falling Phaeton, where host localities must ask themselves whether they’re being taken for a ride.

We are all meant to be mothers of God, for God is always needing to be born.[10] A black star from somewhere comes ashore. Its opacity breaks all sense of vision, a nowhere-hole cut through the depth of sand. Cracking open like a dissected heart, this sea urchin spawns a figure in a plume of matchstick smoke. The prevailing wind betrays its name and Manman Chadwon rises from her sea egg, a goddess; but, no longer Manman but Moko Chadwon, risen as a defiant tree – unlike the Divi-divi – for which the wind knows no power. Using a combination of personal and wider-arching mythologies and folklore, Gwladys Gambie invokes the avatar of Moko Chadwon, a spiked giantess dedicated to the self-image, sensuality and elevation of black womanhood. Striding across the horizon, the mobilisation and rise of Gambie’s goddess presents new meaning and visuality in the depiction of black womanhood, uplifting her own image through the transformative potential of masquerade, costuming and storytelling. Where spikes rise as shivering points of sensuality, Gambie locates islands of pleasure, joy and beauty through an intimate introspection of the landscape of her body. Such selfconcern and self-care disrupts exotic and objectifying projections against black women – where, like a sable Venus, this body has been shaped by the desires or fears of others – making space for more opaque reflections of self and expressions of sexual agency. In crafting this mythology, Gambie poses a new pantheon of value, where standards of beauty and the cultural prioritisation of certain bodies are put into question, where god is made in the image of its disciple.

Where mythology is mobilised towards theology, Kriston Chen uses the Moko Jumbie as a tool for social uplift. Working with Stichting Rancho, Chen helped to introduce the practice of stilt-making and walking to the children of the Rancho neighbourhood. Installing a workshop, Stick Ting in D’ Alley, a progression from his own “Sticks in De Yard” at Alice Yard, Trinidad and Tobago, Chen’s exchange of yards for alleys acts as a syncretism that signifies the multitude of forms that community spaces manifest across the region. Sharing an inherited craft and mythology positions Chen as a storyteller in the dissemination of intangible culture, and the story unfolds into practice when seeing the neighbourhood kids walking in full force at tremendous heights. In precarious and vulnerable societies, mythology may be an important foundation for the welfare of cultural memory, as myth informs being. However, being and doing certainly help to inform the value, weight and priority of a society’s mythology; and this is where the question of theology comes into play. Whether it is to bring a community closer together, to expand horizons of aspiration, or simply to affect joy or meaning, Chen’s installed theology around stilt practice in Rancho is an appeal to the particular sensitivities of a community. Where god (or objects of reason and devotion) is not relegated to the foggy realm of myth but, it may arrive in the simple form of timber, charged with the power of letting people walk taller in more ways than one.

The Truth in Your Mouth But this is no folk tale. For a man can anytime and anywhere sacrifice or risk his life, but nowhere else can a man find a colour like that of the land spilled around him; and all men are made in order to tell the truth of their land, and some tell it in words, some in blood, and others with a true grandeur[11] Over a wilderness of voices, a story told itself in fear and pavement. Mortared and spackled with a terracotta breath; a sickly gold road raged, sickeningly rich in artifice, illusion and other things we could not afford. It filled our mouths, this concrete melt, and our words could only fall and crack like clay pigeons. I can’t remember the eruption’s name; a Soufrière, Pelée or Pompeii of words – some lies – spat on our heads and we would eventually believe them. Yet, in spackle’s crack and mortar’s rift, the seam of your lips cut open and, through this failing façade, your wilderness would wrench and writhe and ripen to a fruit of unreasonable words. The pavement names you illiterate as it feels eluded by your bush parlance but, through hopeful imperfections of this plastic mirage, your wilderness arises. Neither cursed to savagery nor devilry, you find yourself unearthed in complicated truths. For, nothing the desert raises is a monster.[12] What of your voice will you find in the forest? What voices cling to you like a shirt of wet cement? Who do you hold with that warming voice of flutter? Who do you stone with that weighted rock dove’s scold? What stories foam to your mouth after a forever’s drought of speech ?

I want to feel: you cannot tear my song from my throat you cannot erase the memory of my story you cannot catch my rhythm (for you have to born with that) you cannot comprehend the magic[13] Seated at a floating table – your grandmother’s, I believe – your vision scans a city’s horizon and a competition of voices persuades you of its history. This horizon’s unfold wears many faces and you must determine which is real. Misguided by these voices who scour the city, will you find truth in any story served to you or will you simply grow bloated with illusion? Sharelly Emanuelson’s En Mi País is a video installation that moves between languages – Papiamento, Spanish, English and Dutch – while accommodating a multitude of appeals to questions around Aruba’s meaning and emergence. Framed as a tour with many guides, a voice leads you on, instructing you to keep moving along this imaginary excursion. Drifting from overeager rehearsed scripts that embellish and glaze over the various surfaces of images, symbols and motifs of Aruban national culture (such as the colours of its flag) to more genuine and thoughtful reflections of each tour-guide’s experience, position and stake in Aruban society, En Mi País is a compilation of conflicted testimonies and retellings of Aruba as a story. Where the accounts of the nationalistic surface seem constant across languages, each personal testimony offers a new departure. Each tour-guide looks out from the rooftops of Caya Grandi, gazing upon the different points of this panoramic horizon; in this multitude of gazes, we are confronted with the deviations, conflicts and disparities of each perspective and the island unfolds in a confluence of meanings. No single story or language can fully account for the character of this land, its history or its people. Where this writer can only confidently account for the English-spoken components of this work, the remains are lost on me and I am left with only a sample of the textile. And where this work exists as a floating table’s shell – a ghosted front room – it recognises its own incapacity to recreate the whole or, rather, it recognises that the telling of this story is an ongoing effort without completion. As one of the guides laments, “I don’t think we have really developed our own identity yet;” new stories continue to be told in the promise of that ‘yet’.

Of course, each age has its own way of doing things. How many ways are there to uproot a weed? [‌] The value of a story lies in what it teaches, and in its ability to make us known other lands, the way things are done elsewhere[14]

This open-ended sentiment is echoed in Velvet Zoé Ramos’ Shades of solutions / Sombra di solución, a canopy for the sun to speak through. Poking fun at the various canopies plotted along the boiling sunscape of Caya Grandi, Ramos’ work, a canopy with an alternative function and ulterior motive reads, “NO POR TAPA SOLO CU UN DEDE,” (YOU CAN’T COVER THE SUN WITH ONE FINGER). You will neither find shade, shelter nor comfort in Ramos’ canopy; only a stern awakening razed by the sun. A proverb alluding to there being no quick fixes to complicated issues, Ramos’ work, stencilled in Papiamento, speaks to the daily Aruban populace passing through Caya Grandi. Though I can’t account for the specifics of this critique – I am not the one being spoken to – such a remark does resonate and reflect on the various shortcuts taken and infrastructural corners cut by governments, institutions and societies across the region in reckoning with their particular socioeconomic conditions. Expanding on the reading of this proverb, the oppressive constant of the sun could not hope to be eluded by the effort of a single finger; that is, the conditions and issues faced by societies of precarity cannot hope to be approached as individuals but, rather, as collectively mobilised communities. In the absence of consideration for the collective and its participants, reckless decisions are implemented and where work is reckless, those most vulnerable in a community are the first to bear the consequences. Ramos’ proverb, a story that scolds, is a revelation to all that has been kept in neglect, disrepair and disenfranchisement, behind the convenient ignorance of shades, screens and canopies.

You cannot think of the town without seeing the paths leading to the main square; it’s filled with men holding their shoes in their hands, women who have their town dress wrapped in a bag, those who stop on entering to wash their feet, all the people who stream in from everywhere, not so? Who are they? They are the people of the land. There is no barricade, no frontier marking where the muddy path ends and the road begins, have you seen any? […] That’s why the main street does not really exist; it has no reason to be there, it should be a path, an alley, with trees, sand, if only people understood.[15] A farmer tends to his crop though all the villagers have left the wilderness. They halt, bewildered. A concrete desert meets them. Where did it come from? Irvin Aguilar’s La Línea en La Memoria is a mural, stylistically resembling a linocut print, depicting the flow of Aruba’s history from a point of interdependency with nature to the threshold of the main street, Caya Grandi. A linear narration painted onto a blank peeling wall overlooking a derelict paved waste, the mural features the contrasting images of the aloe worker and the street, divided by the crossing of the villagers away from the fields. The villagers, though silhouetted, are postured in huddled confusion, where the stark flatness of the main street stops them from proceeding. A gradual decline of detail towards the inorganic flatland of the street contrasts with the care, attention and playfulness applied to the gestural line-work in the natural and rural landscape, indicating a loss of something culturally significant. The rigidity of the main street lines the image like a barrier, breaking the flow and influence of nature, keeping the villagers at bay. The sort of bewilderment at play in the course of time, socioeconomic ‘progress’ and ‘development’, in reflection of history and one’s position in it – in one’s being buffeted by history – is reflected in Aguilar’s painted story, where a crisis of memory presents itself. How did we get here? What is the cost of this present? What has been lost in progression? What has been left behind? There is a condition of grief in Aguilar’s work, also present in his Mechanismo Racional, where a façade of a lost building of the main street is recreated in pallet wood, mourning this loss. Held up by flimsy supports, this memory will soon collapse. In the haste towards socioeconomic development, what stories will be forfeited to the pavement?

Wilderness in the Cracks He contemplates the main road deprived of mystery, really nothing but a simple crack in the fields of rooftops […] A road with no depth. […] Had he not worried about failing to recognize its volcanoes, right under his nose? And they were indeed there. A kind of unlimited potential. [He] watches the roofs and senses the presence of an explosive force as yet inactive. Although denying the possibility of such a revelation, he guesses it is there and waits. Looking at the unrelieved flatness of the town, he feels the need to explore its hidden depths.[16] Suspending my distance as a writer and resuming my closeness as a participating artist in Caribbean Linked V, I must admit that the working space of Caya Grandi was initially very intimidating. There is a fear, with intimidating spaces, that you will be consumed or become part of a spectacle; an exotic attraction on which fantasy feeds itself. The dazzle of excess will unfold atop you and your body will surrender to the throes of decadence and sandstone finery. A smile will cut itself ear-to-ear across you and you won’t remember who you’re looking happy for. The street will eat you – and so will the tourists – and every scar and flaw that complicates your being will be glazed in a deception of cement… or so I’ve feared. In my fear, my body tensed like that inflexible street, and no promising story could be told.

Salvation could be found in cracks, where artifice holds no power and where wilderness springs anew. I planted aloes in those cracks and did not feel devoured – for, I had not hoped to engage with the street but with its sub-surface, what had been paved over. Disengaged and disenfranchised from the story such streets like to tell, both here and elsewhere in the region, each of the participating artists visualised efforts to tell something back. Beneath the surface of our concern and our respective national memories, lives a wilderness of possibility; alternative systems of value, shifts in cultural priority, both old stories and new. In the unfolding of our streets and our collective cultural memory, our stories’ passages rely on the eloquence and capability of our mouths shared in recitation. In the gaps between each island, between island and mainland, what can be remembered so as to bridge our spirits closer? From the immeasurable depths of the seawalls that distance us, what words will we find to keep our memories afloat? – Adam Patterson

[1] Olive Senior, “Meditation on Yellow,” in Gardening in the Tropics (Toronto: Insomniac Press, 2005). [2] Christopher Cozier, Sketch for and to think you had me believing that all this time, 2002, Ink drawing, Berlin Biennale X, Berlin, [3] Edouard Glissant, The Ripening (UK: Heinemann, 1985), 97-98. [4] Ibid., p. 152. [5] Krista A. Thompson, “How to Install Art as a Caribbeanist,” in Curating in the Caribbean, ed. David A. Bailey et al (Berlin: The Green Box, 2012), p. 97-112. [6] Glissant, The Ripening, p. 132. [7] Sharae Grace Deckard, Exploited Edens: Paradise Discourse in Colonial and Postcolonial Literature (Coventry: University of Warwick Press, 2007), p. 290. [8] Stanley Greaves, Iconographical Determinations in My Work (USA: Howard University, 1980). [9] Maria Hadjipolycarpou, Intersubjective Histories in the Mediterranean and Beyond: The Poetics of Self in Postcolonial Autobiography (USA: University of Michigan, 2014), p. 94. [10] Meister Eckhart, Sermons (MI: Christian Classics Ethereal Library, 2001). [11] Glissant, The Ripening, p.82. [12] With thanks to Shivanee Ramlochan’s Duenne Lorca, for the original “Nothing the forest raises is a monster.” Shivanee Ramlochan, “Duenne Lorca,” in Everyone Knows I am a Haunting (UK: Peepal Tree Press, 2017). [13] Senior, Meditation on Yellow. [14] Glissant, The Ripening, p. 81-82. [15] Ibid., p.98. [16] Ibid., p. 96.


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











St Gabriel’s School 8-9 year olds

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?

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. /


ROSEMARY PARKINSON Culinary Author & Contributor Mobile Barbados + 1 246 264 7448 Website: Facebook: https:// yJourney

Instagram & twitter: rparkinson246

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.

“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:



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

NIKOLAS SEALY ns/446661088688420?ref=hl

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 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

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!

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+

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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