...AND I RESUMED THE STRUGGLE. DECEMBER 2021

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“...and I resumed the struggle.” December 2021 We started this exhibition series exactly one year ago in a moment of uncertainty dealing with Covid-19 and its impact on our lives. As artists we felt determined to ‘resume the struggle’ in our studios and show the public our contemplations. We have embraced the new normal in living with the virus and have become ever more united globally through our screens as we absorb information about additional challenges. We turned our focus to the recently closed climate summit in Scotland, which was dubbed a failure by so many developing countries because the crisis seems to be aimed at the poorest nations and much of the power to offset its impending doom resides with the industrial nations who began the catastrophe in the first place. Artists over the past 40 years have had some concerns with issues surrounding our planet usage, and for Caribbean artists, it has become a major part of our artistic expression. The Caribbean was indeed ground zero for the ravages of slavery and the subsequent implementation and collapse of the industrial revolution. It has therefore been important for artists to create works that question the relationships of power and ownership. Omari Ra’s sculptures Who Disappeared the Tallawahsaurs provides an entry point to the serious issue of imperial devastation as his toy dinosaurs could be stand-ins for peoples, cultures and entire ecosystems wiped out by colonisation and rebranded under the coat of arms. These symbols of imperialism act as an affirmation of control which today puts the nation in a stranglehold. This plays out in the nations’ vaccine roll outs and in the countries we permit entrance to despite their concerning covid levels. The financial ability of wealthy industrial states to hoard vaccines and the African diaspora’s distrust of western medicine, because of its associated historical abuses, have put us in a difficult place which demands closer scrutiny. Prudence Lovell’s Untitled drawing installation doubles as enlarged petri dishes or a view through the lens of a microscope through which we see pixelated images of medical and scientific paraphernalia, fragments of China’s flag and details of Anthony van Dyck’s Saint Rosalie, the patron saint invoked during plagues. We are simultaneously being called to look closely while maintaining distance. Today, we continue to develop works from various themes related to personhood, the body, race, gender, class, power, ecology and identity. We are grateful to be able to have this exhibition once more, even under these circumstances and we look forward to your continued engagement with our subsequent programming. Phillip Thomas, Camille Chedda December 2021


Brad Pinnock (b. 1998, Kingston, Jamaica) lives and works in Kingston. He is a recent BFA graduate in Painting from the Edna Manley College of the Visual and Performing Arts. His approach is interdisciplinary incorporating painting, sculpture, performance and architecture. He has exhibited at the CAGE Gallery, Itopia Gallery and In Situ II. Pinnock tends to focus on ideas of human nature in his work, particularly the relationship between the thinking and emotional self. He also enjoys painting murals and has worked with Kingston Creative and Art Evolution on the downtown Kingston mural projects. He is a recipient of the C.B. Facey Foundation, CHASE Fund and Carreras scholarships.

"This piece investigates ideas of European psychological war upon the Afrikan mind as a form of neocolonialism, expressed through education, religion, cultural imperialism and control of information. The horse is a metaphor for powerful emotional desires, while the rider is the rational side of our nature and I believe there is an imbalance between the two. This imbalance is prevalent across society as most people are driven by desires which make them highly irrational and susceptible to manipulation. The gambling industry is one such area of society where this is quite rampant. For black people, these psychological imbalances and effects of an inflicted self-destruction are even more prevalent as we have been separated from our Afrikan identity and have been programmed to operate in a state of social amnesia. The work also looks at ideas of religion and the control of information through mass media, which further manipulates the emotions of people and breeds fear within the society. My process is highly interdisciplinary and usually results in the form of installations combining different aesthetic languages, merging architecture, sculpture, painting and theatre. I allow the process and the materials to lead work which oftentimes generates an outcome even more powerful than I could imagine."


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USD

1,300

Race Apocalypse

Mixed media collage on paper, wooden chair 96 x 51.5 in. 2021

BRAD PINNOCK

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Camille Chedda (b. Manchester, Jamaica) lives and works in Kingston. She graduated from the Edna Manley College with an Honours Diploma in Painting and received an MFA in Painting from the University of Massachusetts, Dartmouth. Her works have been featured in exhibitions at the National Gallery of Jamaica, NLS Kingston, the Olympia Gallery, and the Museum of Latin American Art. She is the recipient of numerous awards, including the Albert Huie Award, the Reed Foundation Scholarship, the inaugural Dawn Scott Memorial Award, the British Council’s TAARE Program Award, and the Catapult SHAR Grant. She has been an artist in residence at Alice Yard in Trinidad, Art Omi in New York, and Hospitalfield in Scotland, and has completed the Catapult Stay Home Artist Residency and the HOMO Sargassum Art Residency. Chedda is the recent recipient of the inaugural Jamaica Art Society’s In Focus Fellowship. She is the Project Manager of the Rubis Mecenat’s InPulse Art Project, and lectures at the Edna Manley College of the Visual and Performing Arts.


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USD

1,550

...We all live under the same sky Mixed media collage 84 x 44 in. 2021

CAMILLE CHEDDA

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Greg Bailey (b.1986 Warsop, Trelawny) earned his BFA in 2010 from the Edna Manley College of the Visual and Performing Arts, where he now lectures, and an MFA from the Washington University in St. Louis, Sam Fox School of Design and Visual Arts in 2019. His Jamaican exhibitions include: Young Talent 2015, the 2012 National Biennial, and the Jamaica Biennial 2014 and 2017 at the National Gallery of Jamaica; and the ...And I Resume the Struggle exhibitions (2020, 2021) at the Olympia Art Gallery. He has also exhibited in London, England, the United States, and Stuttgart, Germany. His awards include: The People’s Choice Award at the Due West 2020 exhibition, National Gallery West, Montego Bay; the Danforth and CHASE Fund Scholarships; and the Dawn Scott Memorial Award. Bailey is the author of Future Relics: Monum.


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USD

5,000

Bro Two Crests Oil on canvas 55 x 35.5 in. 2021

GREG BAILEY

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John Alexander Campbell (b. 1972, Kingston, Jamaica). His artistic career commenced after high school when he worked for a newly formed airbrush t-shirt comany Iya and then also Yabba Air. In 1992 he attended the Edna Manley College of the Visual and Performing Arts where he majored in Painting and minored in Printmaking. In 1996 he spent 18 months as the Artist in Residence at the Avant-Garde Gallery in Portland. He has exhibited in both group and solo shows here in Jamaica and abroad in Trinidad, USA and the UK. John states that his works depict varying aspects of life and all its passions, the good the bad and the indifferent from a very personal perspective.

"Legacy was created as a way to deal with a personal loss. During that time the immediate effects were obvious, whoever time would have to pass to be able to comprehend how far-reaching the effects truly were, both personally and externally. I suspect the same will be true years after this pandemic has passed and a wider view can be taken."


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USD

3,800

Legacy I

Acrylic and vodka on canvas

47.5× 47 2021

JOHN CAMPBELL

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Kimani Beckford (b. 1988, St. Catherine, Jamaica) attended the Edna Manley College of the Visual and Performing Arts were he attained a BFA degree in Painting 2011. He has participated in several exhibitions both locally and abroad. His exhibitions include: ...And I Resumed the Struggle Olympia Gallery, Jamaica. 2020 and 2021; QUEEN: From the collection of CCH Pounder, Charles Wright Museum, Detroit. 2020; Affirmation tour (solo exhibition), Jamaica Conference Centre, Kingston, National Galley West, Montego Bay. 2019; Icons: Ideals of Black Masculinity, Xavier University of Louisiana, 2018; National Biennial, National Gallery of Jamaica. 2012, 2014 and 2017; Mercosul Biennial, Brazil. 2014; Colour the Planet, UNESCO exhibition tour, Paris, Madrid, Spain. 2010 His awards include: The Dean Collection “TDC20 ST(ART) UPS” 2018; The Dawn Scott Memorial Award (2014 National Biennial held at the NGJ; The Prime Minister’s Youth Award for Excellence in Arts and Culture in 2011. Working mostly in paint media, Beckford explores the politics of race and representation in the contemporary context.

“I have a strong sentiment towards self-love as well as the preservation and documentation of black imagery within admiration of confidence. My ambition is to join the conversation of figure-making through paintings, while contributing to the legacy of having the black figures represented in the likeness of iconic portraits- just as equal as any other race.”


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USD

6,150

Art School Confidential Oil on canvas 96 x 48 in. 2021

KIMANI BECKFORD

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Omari Sediki Ra (also known as “Afrikan”) Ra’s work provides provocative, satirical commentaries on the historical and contemporary issues that have shaped the lives of Afrikkan people in a global context He has exhibited widely locally and internationally, participating in exhibitions such as the 1995 Johannesburg Biennial, and the Annual National and Biennial exhibitions in Jamaica. He is also the recipient of the Marcus Garvey award, c. 1990s. He lives in Kingston, Jamaica.


USD

650 each

Who Disappeared The Tallawahsaurs Mixed media variable 2021

OMARI RA

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USD

350 ea

Locomotives: Your Mother, Your Nuncle and Your State 1-9 Mixed media collage 4.5 x 7 in. 2021

OMARI RA

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USD

350 ea

The Crown Strikes Back: Conversation with James Hakewill Mixed media 4 x 6.5 in. 2021

OMARI RA

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USD

3,000

The Toilet Imperitive; The Geometric Redisigning of Human Tissue Culture Mixed media various 2021

OMARI RA

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USD

6,000

Myth I Beaded textile 54 x 60 in. 2021

ONEIKA RUSSELL

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Oneika Russell received a diploma in Painting from the Edna Manley College in Jamaica. She completed an MA in Interactive Media at Goldsmiths College in London and postgraduate studies in Film, Video & Media Art at Kyoto Seika University in Japan. Residencies done include: Post-Museum in Singapore, NLS in Kingston, Vermont Studio Centre in Vermont and most recently Residency Unlimited in Brooklyn. Major exhibitions include Jamaican Pulse at The Royal West of England Academy, UK; The 2017 & 2014 Jamaica Biennial, Kingston; At the Crossroads: Critical Film and Video from the Caribbean at Perez Museum of Art Miami and the 2018 Dakar Biennial, Senegal.


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USD

6,000

Myth II Beaded textile 54 x 60 in. 2018

ONEIKA RUSSELL

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Prudence Lovell is a British immigrant to Jamaica and

has for decades lived and worked in Kingston maintaining a quiet practice centered mainly around drawing and collage. In recent years, exhibiting has been largely confined to the National Gallery of Jamaica’s National Exhibitions and Biennales, Edna Manley College’s Faculty exhibitions and conferences, and NLS [New Local Space]. Notable among these exhibitions was the group show entitled Insides at NLS and Explorations 3: Seven Women Artists at the National Gallery in 2015. Solo and group exhibitions include: London [Commonweatlh Institute, Spink and Son Ltd, Royal Academy’s Summer Exhibition; The Netherlands - Haags Salon, Pulchri Studio Members’ Exhibition, and Galerie Edison: ’Three British Artists’], The Cayman Islands National Gallery, Rousings: An Exhibition of Jamaican Art, Grand Valley State University, Michigan Jamaica Today: Six Jamaican artists and Santa Domingo’s Urban Landscapes exhibition and Biennales 1996 and 2002.

Prudence is a lecturer in the Fine Art Painting Department at Edna Manley College of the Visual and Performing Arts.


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USD

2,900

Untitled (March 2020-December 2021) Carbon on mylar with mixed media additions variable 2021

PRUDENCE LOVELL

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Sharon Norwood is a Canadian artist of Jamaican ancestry. Her work spans several media and includes painting and ceramic. Norwood received an honors degree in painting from The University Of South Florida, and an MFA in studio art at Florida State University. Her work is presented in solo exhibitions, group collaborations, and in site specific installations. Norwood has exhibited in museums and galleries in Jamaica, and other areas of the world, including Canada, the United States, Germany and Korea. Norwood has participated in several residencies including the McColl Center for Arts & Innovation, Hambidge Center for the Creative Arts, Vermont Studio Center (VSC), PILOTENKUECHE in Germany, Watershed Center for the Ceramic Arts in Maine, ROKTOWA in Kingston, and the Virginia Center for the Creative Arts (VCCA). In 2019 Norwood became a Joan Mitchell foundation grant nominee. Currently, Norwood maintains her studio practice in Savannah, Georgia.

"My work often deals with subjects that intersect our understanding of identity where I am using the curly line as stand-in for the “black body”. The work becomes a way to challenge passive ways of looking, of understanding. It disrupts the “white” gaze, connecting us back to our humanity and our unique understanding and participation in colonial systems. The work speaks to social, political and cultural histories. I am interested in creating conversations that speak to our understanding of difference, of race, gender, beauty and class. The curly line becomes mark and material and takes on special importance. It is a self portrait reflection, a trope for the black body, and it is also a decorative, ornate, beautiful mark. It holds a formal quality that connects us back to the language of drawing. The work shifts between hair and line, between political and non-political, at one moment the work is read as hair, at other times it is simply a beautiful mark. The line serves dually as mark making, and also as signifier for the black body."


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USD Hair Matters: Picky Picky Decal drawing on vintage china various 2016-2020

SHARON NORWOOD

4,700

cup & saucer $1,800 salad plate $1,100 dinner plate $1,800 INQUIRIES/QUESTIONS CALL: 876.864.9866 Sales.olympiagallery.ja@gmail.com


Shediene Fletcher (b. Manchester, Jamaica, attended

the Edna Manley College of the Visual and Performing Arts. She lives and works in Manchester. Selected Group Exhibitions: 2021: …and I resumed the struggle, The Olympia Gallery 2017, 2014, 2012: Jamaica Biennial, National Gallery of Jamaica 2015, 2012: National Visual Arts Competition and Exhibition, National Gallery of Jamaica 2013: Art Fresh, Mutual Gallery, Kingston Jamaica 2011: Final Year Exhibition, Edna Manley College of the Visual and Performing Arts 2010, 2009: Curator’s Selection Cage Gallery, Edna Manley College of the Visual and Performing Arts.

"The language of art is a powerful one. It can evoke / provoke feelings making you uncomfortable. For me the process of creating is also the act of finding something. Creating your own stories. I try to find new and interesting materials to work with. Animal skin is one I have returned to again and again. The inherent characteristics of the medium, that also has a historical, personal and social connection. We are happy to buy leather etc, but freak out when we see a dead animal or in my case the skin. Hypocrisy is human nature. When you work with something dead, people think of life. I think my curiosity is driven by fear, that or my own examination of self. So much already exists in the skin, the color, movement, lines and shape. It has its own essence. I collect discarded skin from a butcher shop. I never know what I will get once the skin is dried. History already exists in my canvas. It had life before I got them. My work examines an individual’s presence in the mass of humanity, our condition, position and confusion."


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USD

1,100

self concept

Wax on board 25 x 20 in. 2021

SHEDIENE FLETCHER

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USD

3,500

seek I

Mixed media on goat skin 39 x 36 in. 2021

SHEDIENE FLETCHER

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USD

3,500

seek II

Mixed media on goat skin 36 x 39 in. 2021

SHEDIENE FLETCHER

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Tevin Lewis a creative (b. 1996, Jamaica) Naturally, from his day of creation Tevin Lewis has been a very spontaneous and instinctive life form. As it relates to his practice, Lewis works in an interdisciplinary way utilizing information, materials, resources, disciplines etc. from the world around to project and visualize experience of energy. This has allowed his perceptions and views to develop in an intense surrealistic format. Lewis acts as a beacon both receiving and projecting energies into a formal classified as art. Lewis completed his BFA in 2021 at the Edna Manley College for the Visual and Performing Arts, and is now on a path of growth as a young creative within the Caribbean experience.

"Taking an interdisciplinary approach, Lewis explores the interrelationship between arthropods alongside man and the environment. To observe how we process, interact and experience the phenomenon of arthropods, to then compare it with our current culture and more directly in the case of contemporary film. Terrestrial and aquatic arthropods have evolved in such an explosive yet orderly manner that this burst of life infiltrated all corners of life and formed very important roles that up to today influences the very life which we currently live. This grand symbiosis has led the artist to explore through a series of ongoing investigations and process based methods of exploration, using different creative disciplines. The woks created will be of no specific form but function as a whole in the aim of creating a self-sustained environment. An environment ruled by the subconscious imagery of the artist and mankind’s unescapable influence on the representation and other interrelations with arthropods, using methods of drawing, collaging, sculpting and photography, as the main areas of expressive and practical inquiry’s. The work aims to dissect but to also present the ignorance within what we currently know of arthropods, in order to create an immersive experience in time creating a merger of a futuristic primordial stew of possibilities and capabilities as it relates to the future of man’s evolution ,biological, psychological and environmental evolution through occurring probability of genetic , social and mechanical alterations. The artist aims to draw comparisons, psychological and physical relationships between arthropods and humans creating a continuous metamorphosis of the elements present within this environment. With influences from Lewis’s current ongoing research in bio-mimicry which is the utilization of nature’s design and material for benefit towards mankind and influences from a wide range of cultures, religions, myths, films, his childhood experiences, habits as an animal and more, that utilize zoomorphic and anthropomorphic elements and ideas. Through this, Lewis aims to comment on different aspects of existence in which humans interact with arthropods, especially within the Caribbean."


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It’s Always Sunny Tomorrow with Fossil Bites and Monosementa Mixed media variable 2021

TEVIN LEWIS

USD 720 Fossil bites - JMD 13,076 USD85 Mono JMD 15,384 USD 100 INQUIRIES/QUESTIONS CALL: 876.864.9866 Sales.olympiagallery.ja@gmail.com


Xayvier Haughton (b. 1986, St Catherine) completed his BFA in 2014 at the Edna Manley College of the Visual and Performing Arts. His final year project explored issues around Jamaican fatherhood and masculinity. His work was featured in the Jamaica Biennial 2014 and 2017 and the Jamaica Cultural Development Commission (JCDC)’s National Visual Arts Exhibition and Competition in 2015, as well as at the Red Easel pop-up gallery in 2016. He was a part of a three-man exhibition Dark Matter at the CAGE Gallery. Haughton’s work is focused on what he calls the “Afrikan” consciousness and Spirituality influenced by vodun culture. He is currently enrolled in the MFA program at School of Visual Arts New York.


The Visualization of Carbon Series Mixed media 43 x 78 in. 2021

XAYVIER HAUGHTON

USD $3,400 Left / right 31 x 24 in. $1,000 each Center 43 x 30 in. $1,400 INQUIRIES/QUESTIONS CALL: 876.864.9866 Sales.olympiagallery.ja@gmail.com


Trishaunna Henry (b. Jamaica) is a graduate of the Edna Manley College of the Visual and Performing Arts where she received a Bachelor of Fine Arts in Sculpture. Her work has been exhibited in the Resonances exhibition that featured a selection of artists from the 2019 Edna Manley College Final Year Exhibition. In December 2019 She exhibited in the (Un)Finished exhibition.


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USD

3,300

Untitled Plaster of paris and acrylic paint 7 x 12 x 16 in 2021

TRISHAUNNA HENRY

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Petrona Morrison (b. 1954, Manchester, Jamaica) is a multi-media artist whose work engages deeply personal, as well as socio-political concerns through assemblages and installations, and more recently digital photography and video. Themes of fragility, survival and resilience reoccur in her practice. In 2014 she retired as the Director of the School of Visual Arts, Edna Manley College of the Visual and Performing Arts and currently lives in Kingston, Jamaica. Morrison holds a BA (Fine Arts) from McMaster University, Ontario, Canada (1976) and an MFA from Howard University, Washington, D.C. (1986). Her work has been exhibited extensively locally and internationally, including The Fire next Time, The Studio Museum, Harlem (1995), NY, the Havana Biennial, Cuba (1997); Contemporary Jamaican Art Circa 1962: Circa 2012, Art Gallery of Mississauga, Ontario (2012); Jamaica Biennial 2017, National Gallery of Jamaica, Kingston; and History and Infinity (Carifesta XIII), Nidhe Israel Synagogue Gallery, Bridgetown, Barbados (2017), Inter/Sectionality: Diaspora Art from the Creole City, Corcoran School of Arts and Design, Washington, D.C (2019). Her residencies include Trinidad (2000); Nebraska, USA (2002); and Johannesburg, South Africa.


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USD

2,600 each

Covid Diaries I and II Digital collage 60 x 40 in. ea. 2021

PETRONA MORRISON

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USD

1,800

Absence III Digital collage 30 x 22 in. 2021

PETRONA MORRISON

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USD

310

Self Portrait Digital photo collage, print 17 x 11 in. 2021

SASHA-KAY

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Sasha-Kay Hinds (b. 1995 Kingston, Jamaica) is a recent BFA (Honours) graduate in Interdisciplinary Studies from the Edna Manley College of the Visual and Performing Arts. Her exhibitions include: Manifestations, EMCVPA Student exhibition, at CAG[e] Gallery [Un]finished (2019) and INSTU Final Year Exhibition in 2021. In 2021 she presented her thesis paper entitled Black womxn Osunality in Popular Visual Culture at the Rex Nettleford Arts Conference. Hinds was also one of four artists who participated in the inaugural La Practica, Group Residency by NLS 2020-2021.

"These works explore my relationship with my traumatic body that grew into body dysmorphia. Questioning colonial and post-colonial the exploitation black body within popular culture where parts of black feminine body is fetishized and isolated while other parts are hated and discarded. Borrowing and juxtaposing images from real cosmetic Surgery such as breast reduction, tummy tucks and liposuction done on black feminine bodies in the Caribbean. I also question my own desire for this aesthetic as a young black Jamaican woman who understand the historical nature of this aesthetic."


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USD

145

1. 22 22 Digital photo collage, print 17 x 11 in. 2021

SASHA-KAY

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USD

155

Untitled Photo collage, print 17 x 11 in. 2021

SASHA-KAY

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USD

155

Want the ass but leave the belly Digital photo collage, print 17 x 11 in. 2021

SASHA-KAY

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USD

310

Self Portrait Digital photo print 17 x 11 in. 2020

SASHA-KAY

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“AND THE STRUGGLE CONTINUES.” DECEMBER 2021 Continues through to January 31, 2022 Monday – Saturday 10am-3pm Closed on public holidays

202 Old Hope Road Kingston 6 The Art Centre Limited | Olympia Gallery | OMG 202 Old Hope Road, Kingston, 6 Jamaica 876-927-1608


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