BERMUDA NATIONAL GALLERY
BIENNIAL
2010
EXHIBITION OF C O N T E M P O R A RY B E R M U D A A RT
BERMUDA NATIONAL GALLERY
BIENNIAL 2010 EXHIBITION OF CONTEMPORARY BERMUDA ART
This catalogue was published on the occasion of the 2010 Biennial Exhibition of Contemporary Art at the Bermuda National Gallery, Hamilton, Bermuda. June 18 – November 26, 2010. Made possible by Barcardi Limited
Supported by Bermuda Department of Tourism
CONTENTS FOREWORDS
© 2010 Bermuda National Gallery All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any other information storage and retrieval system, or otherwise without written permission from the Bermuda National Gallery.
PREMIER’S WELCOME, D R . T H E H O N . E WA R T F. B R O W N , J P, M P...............
CHAIRMAN, GARY L. PHILLIPS, OBE.......................................................................... 3
DIRECTOR, LISA HOWIE...................................................................................................
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TITLE SPONSOR, BACARDI LIMITED, MICHAEL BRENNAN.....................................
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IN REMEMBRANCE OF DENNIS SHERWIN, CHARLES ZUILL, PhD................... 6
CURATOR, SOPHIE CRESSALL....................................................................................... 7
JURORS, VEERLE POUPEYE & TUMELO MOSAKA.......................................................... 8
WELCOME, ANA ROSA FREITAS....................................................................................... 10
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Bermuda National Gallery City Hall & Arts Centre Suite #191, 48 Par-La-Ville Road, Hamilton HM11, Bermuda
THE ARTISTS.................................................................................................................................. 12
Tel: (441) 295-9428 • Fax: (441) 295-2055 • www.bng.bm Printed by Copy Craft Printers, Lubbock, Texas
ARTIST DETAILS........................................................................................................................... 54
Catalogue designed by Kristen Rego Acknowledgements: Editing: Lisa Howie, Jane Staunton, Connie Dey Administration: Sunell van der Westhuysen, Yoga Horseman
EXHIBITION LISTING................................................................................................................... 62
Bermuda Department of Tourism Global House, 43 Church Street Hamilton HM 12 Bermuda
Tel 441 292 0023 Fax 441 292 7537 www.bermudatourism.com
On E behalf and the people PREMI ER’S W L Cof Othe MGovernment E
of Bermuda I would like to congratulate the twenty artists whose work was chosen to be On behalf of 2010 theDepartment Government and the people Tourism included inBermuda the BacardiofLimited Biennial On behalf of the Government and the people of Bermuda I would likeFax to441 congratulate Global House, 43 Church Street Tel 441 292 0023 292 7537 the twenty artists of Bermuda I would like to congratulate the of whose Contemporary Art – Bermuda’s premier Hamilton 12 Bermuda www.bermudatourism.com work was HM chosen to be included in the 2010 Bacardi Limited Biennial of Contemporary Art – artistsLet whose workcongratulate was chosen those to be arttwenty exhibition. me also Bermuda’s premier art exhibition. Let me also congratulate those whose work was not selected. included in was the 2010 Bacardi To Limited Biennial whose work not selected. expose To expose oneself to the scrutiny of international jurors is certainly a daunting undertaking. Be not of Contemporary Art – Bermuda’s premier oneself to the scrutiny of international jurors discouraged however. Take solace in the words of Persius who said: “He conquers who endures.” exhibition. Let meundertaking. also congratulate those of the Government and the people of Bermuda I isart certainly a daunting BeOn notbehalf would whose work was not selected. To expose discouraged however. Take solace in the like to congratulate the twenty artists whose work was Since the Biennial started twenty yearschosen ago theto quality of art has undoubtedly evolved to an international oneself the scrutiny of “He international words of to Persius who said: conquersjurors who be included in the 2010 Bacardi Limited Biennial of standard with the jurors commenting on the quality of work and the technical skills of the Contemporary Art –submitted Bermuda’s premier art exhibition. Let me is certainly a daunting undertaking. Be not endures.” artists. While they were surprised at how vibrant our local art scene is – we who have seen the evolution discouraged however. Take solace inalso the congratulate those whose work was not selected. To expose of our of local artists who were said: not. “He conquers words Persius who oneself to the scrutiny of international jurors is certainly a Since the Biennial started twenty years ago the quality of art has daunting undertaking. Be not discouraged however. Take solace undoubtedly evolved to an endures.” international standard with the jurors It has been said that art shouldn’t merely comfort or entertain us – it should us. I who hope said: this exhibit leaves you thinking about thealso words of Persius “He conquers who endures.” commenting on the quality of work submitted and the technicalinskills ofchallenge your place our shrinking world. It is years myatsincerest hope that this year’s Biennial will help each of us to appreciate the creativity, Since the in Biennial started twenty ago the quality art hasscene the artists. While they were surprised how vibrant ourof local art undoubtedly evolved to international with the jurors and have strength of the ouran people. I encourage everyone in were Bermuda to come and see the Biennial to be inspired challenged. Since the Biennial started twenty years ago and the quality of art has isdiversity – we who seen evolution of ourstandard local artists not. commenting on the quality of work submitted and the technical skills of undoubtedly evolved to an international standard with the jurors While surprised at comfort how vibrant our localus art– scene commenting on the quality of work submitted and the technical Itthe hasartists. been said thatthey art were shouldn’t merely or entertain it is – we who have seen the evolution of our local artists were not. of leaves the artists. While they were surprised at how vibrant our local art scene is – we should also challenge us. I hope this skills exhibit you thinking about seen the evolution of year’s our local artists were not. your place in our shrinking world. Itwho is myhave sincerest hope that this It has been said that art shouldn’t merely comfort or entertain us – Biennial will help each of us to appreciate the creativity, diversity andit should also challenge I hope this leaves you art thinking It exhibit has been said that merely comfort or entertain us – it should also challenge strength of our people.us. I encourage everyone in Bermuda toshouldn’t comeabout and your place in our shrinking world. It is my sincerest hope that this year’s us. I hope this exhibit leaves you thinking about your place in our shrinking world. It is see the Biennial to be inspired and challenged. Biennial will help each of us to appreciate the creativity, andBiennial will help each of us to appreciate the creativity, my sincerest hope thatdiversity this year’s strength of our people. I encouragediversity everyoneand in strength Bermudaoftoour come and I encourage everyone in Bermuda to come and see the people. see the Biennial to be inspired and challenged. Biennial to be inspired and challenged. Sincerely, Sincerely, Sincerely,
CHA I RMAN’S FOREWORD
In the decade and a half that I have been a member of the Bermuda National Gallery, I cannot recall a time when the Bermuda Biennial did not provoke intense discussion – indeed controversy, to the point where even abandoning such an exhibition was seriously contemplated. It is my sincere hope that the Bermuda public and visitors alike will find this year’s 2010 Biennial no less stimulating and provocative. And as such, I especially want to celebrate those artists who fearlessly and boldly have created a new body of work to be assessed by external jurors with a wealth of artistic talent and experience – particularly in contemporary art. I submit that Bermuda and art in Bermuda are the richer for this exercise. This year, we are grateful to Veerle Poupeye, Executive Director of the National Gallery of Jamaica and Tumelo Mosaka, Curator of Contemporary Art at the Krannert Art Museum in Illinois, for providing a new window of opportunity and even a prescription that could herald an entirely new energy to capturing the vast cultural and social richness of our community. On behalf of all the Trustees, I offer my congratulations to the artists and extend our deep appreciation to Bacardi International President and CEO, Michael Brennan and his staff for their sustained encouragement and support of the Biennial over many years. Thank you to the Bermuda Department of Tourism for their support.
Sincerely,
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Dr. the Hon. Ewart F. Brown, JP, MP D R . T H E H O N . EWA RT F . B ROW N , J P , M P Premier Dr. the Hon. Ewart F. Brown, JP, MP PREMIER Minister of Tourism and Transport Premier Dr. the Hon. OF Ewart F. Brown, JP, MP MINISTER TOURISM AND TRANSPORT Minister of Tourism and Transport Premier Minister of Tourism and Transport
GARY L. PHILLIPS, OBE CHAIRMAN BERMUDA NATIONAL GALLERY
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DI RECTOR’S FOREWORD
SPONSOR’S FOREWORD
Ambiguity is the hallmark of contemporary art, often, so too is the forward funding for an exhibition. The Bermuda National Gallery is
The Biennial Exhibition, one of the most dynamic events on the art calendar, inspires Bermuda’s contemporary artists to strive beyond
grateful for the dedicated sponsorship of Bacardi Limited, and this year, the support of the Bermuda Department of Tourism. We all agree
their normal comfort zones to greater heights of artistic exploration. Especially in these difficult times, we need creative and talented
in the value of cultural tourism, community enrichment, and aesthetic pleasure created by this important art exhibition.
artists to imagine a better future, and to enhance the lives of all of us living in Bermuda. We need to celebrate this spirit for life - this vigour of heart, mind, and soul to reach beyond limits, wherever it is found.
Since 1994 international art experts have juried this exhibition, be they acclaimed artists, established curators or museum directors, each bringing a sensibility of contemporary art and a vision for a “biennial”. When we look across the previous biennials to today, it is clear that
At Bacardi, we celebrate spirit for life everyday in everything we do. In fact, Spirit for Life is our basic purpose, the very essence of
Bermuda’s culture is very much alive with visual artists who are creating stimulating artwork.
our passion; why we love to work for Bacardi. Spirit for Life encompasses sociability, optimism, energy, and enhancing peoples’ lives –
Presently, Bermuda’s arts scene continues to grow. The Corporation of Hamilton has extended the leases to the Bermuda National Gallery (BNG) and the Bermuda Society of Arts (BSoA), so that the City Hall & Arts Centre continues to be just that. The BSoA, Bermuda’s oldest artist society, continues to provide emerging and established artists with cost-effective exhibition space. The Masterworks Foundation’s annual Charman Prize gives artists a competitive opportunity to win awards and prize money, while being inclusive of all artists. The Dockyard Arts Centre and Kaleidoscope Arts Foundation both offer studio space and gallery space for artists. And with the recent
making good times great, helping to create memories that will live forever. This too involves striving to greater heights of creative exploration, and adding fun to our everyday lives. Since 1998, Bacardi is delighted to be a part of a great tradition of excellence upheld by the Bermuda National Gallery, celebrating the spirit of Bermuda’s art community.
re-opening of Windjammer II at the Hamilton Princess, artists have another opportunity to interface with the commercial market, while
On behalf of Bacardi Limited, I extend congratulations to the organisers of the Biennial for the vision in supporting the art community
gaining exposure to the international demographic. Artists have many opportunities to showcase their talents and evolve by doing so.
with this well-crafted juried exhibition. To the distinguished international jurors - Veerle Poupeye, Executive Director, National Gallery
As this is my first biennial as the Director of the BNG, I felt it important to critically address the paradigm established by the previous biennials, and question why do we host a biennial? What do we intend to see happen as a result of the biennial? In a word, the answer is
of Jamaica, and Tumelo Mosaka, Curator of Contemporary Art, Krannert Art Museum, University of Illinois - we are grateful for your participation in judging this exhibition. To the artists who submitted work, your courage is an inspiration, and I wish you every success in
internationalism.
following your artistic passion.
This exhibition has the opportunity to be internationally competitive. It has the potential to play a role in the international art scene. It has
About Bacardi Limited
the possibility of travelling and seeing parts, if not the whole, represented in relevant contexts, such as the Caribbean. In questioning what
Bacardi Limited, the largest privately held spirits company in the world, produces and markets a variety of internationally recognized
the biennial is, leads to what the biennial can become.
spirits. The Bacardi brand portfolio consists of more than 200 brands and labels, including: BACARDI® rum, the world’s favorite and best-selling premium rum, as well as the world’s most awarded rum; GREY GOOSE® vodka, the world-leader in super-premium
It is my endeavour to establish relationships with the 2010 jurors and indeed make a pledge to Bermuda’s artists that we can
vodka; DEWAR’S® Scotch whisky, the number-one selling blended Scotch whisky in the United States; BOMBAY SAPPHIRE® gin, the
evolve the Bermuda Biennial into one that gains greater exposure and appreciation beyond our Island’s shores. Engaging with the
top-valued premium gin in the world; CAZADORES® blue agave tequila, the top-selling premium tequila worldwide; MARTINI® vermouth,
‘other’, projecting our culture into alternative spaces and places, will shed light on the vitality of our local arts scene, while quite potentially launching careers into the global sector. Your support of this initiative is greatly appreciated.
LISA HOWI E DIRECTOR
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BERMUDA NATIONAL GALLERY
the world-leader in vermouth; and other leading brands. For more information, please visit www.BacardiLimited.com.
MICHAEL BRENNAN VICE PRESIDENT FINANCE – CORPORATE CONTROLLER BACARDI LIMITED
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I N R E M EM BRANC E OF DE N N I S SH ERWI N
CURATOR’S FOREWORD Bermuda’s artistic tradition has been built on a western aesthetic imbedded in European colonialism. This tradition has been informed
Shortly after the Bermuda National Gallery opened its doors to the public in 1992, Dennis Sherwin, one of the major founders of the Gallery, suggested that we consider hosting a Bermuda biennial exhibition. Thus began one of the major events in the BNG exhibition calendar. Now, eighteen years on and nine biennials later, the “Biennial” is seen today as an important encouragement of the visual arts in Bermuda and possibly a catalyst in the resurgence of the contemporary Bermuda art scene. Dennis was always very proud of the Biennial. Even in his last years, when he often found it difficult to get out to exhibitions, he always made a point of seeing the Biennial. Shortly after I returned to Bermuda in 1983, I met Dennis; however, odd as it may be, I do not recall the meeting, although I am very sure it had something to do with the Bermuda Arts Centre at Dockyard, for Dennis loved the visual arts. From thereon, our paths often crossed and as time went on, we began to work on projects that brought us into a close working relationship. First, it was the Bermuda Arts Council and then we were asked to be trustees of the Bermuda Fine Art Trust. This quickly led to being on a steering committee to consider the feasibility of establishing a Bermuda National Gallery and when that became a reality, we became trustees of the BNG. More than that, Dennis was always there with wise counsel and quiet financial support. Additionally, Dennis, who was a keen collector of art, especially modern original prints, was always generous in allowing the BNG to exhibit selections from his collection. With the death of Dennis on December 19, 2008, the Bermuda National Gallery and the Biennial lost a very dear friend. On this the opening of the ninth Bacardi Limited Biennial Exhibition of Contemporary Bermuda Art, it is fitting that we all remember our good, wise and generous friend, Dennis Sherwin.
throughout history by diverse cultures such as African, American, Caribbean, Irish, Native American, and Portuguese. It is this diversity that has developed Bermuda’s highly complex identity and it is this synergy of histories, memories and cultures that provide the context for today’s contemporary art. This year marks the 115th year since the first Biennale exhibition in Venice in 1895. Initially conceived to reflect the art of the times, this mandate has not changed. National and international Biennial exhibitions endeavor to continue the tradition of highlighting artworks that respond to and articulate the surrounding contemporary culture; they are portholes, visions for the future. 2010 marks the Bermuda National Gallery’s 9th Biennial of Contemporary Art. This year the exhibition received an impressive 277 submissions from 71 artists. Artworks submitted responded to universal themes in modern day society; they connected with global issues and were influenced by a variety of cultural traditions. Other works explored artistic movements, philosophies, aesthetics and styles. The artistic mediums ranged from digital film to performance, traditional landscape paintings to portraiture, assemblage to sculpture, photography to print. This range of artistic expressions and mediums is evidence of Bermuda’s thriving art scene. After a rigorous and structured jury process, 42 pieces of art by 20 artists were chosen for this exhibition. The works selected challenged traditional art forms by pushing boundaries and redefining visual art, but this alone was not the success of a work. The success lay in the artist’s ability to synergize context, technique, and originality, creating a piece of artwork that challenged set artistic traditions. Some may question why some of the most well-known, well respected artists in the community were not represented in this selection: the answer lies in the intent of the exhibition. The exhibition seeks to represent artwork that challenges the traditional and continues to drive radical aesthetic innovation. I would like to thank all the artists who submitted artwork for the 2010 Bermuda National Gallery Bacardi Limited Biennial. It takes courage and conviction to have your artwork juried, and I thank you for participating in the dialogue. The discourse on contemporary art is alive in Bermuda and I am thrilled to play a role in this discussion.
CHARLES ZUILL, PhD
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FOUNDING TRUSTEE
SOPHI E CRESSALL CURATOR
BERMUDA NATIONAL GALLERY
BERMUDA NATIONAL GALLERY
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JURORS’ FOREWORD The term biennial is a charged one in the context of contemporary art. It implies a high-profile, recurrent exhibition, held in and usually
General artistic merit was another prime consideration. We took the position that making a provocative statement was not, in itself,
named after a particular location, in which the art presented and the curatorial positions taken are informed by a critical self-awareness of
enough to warrant inclusion but that the work had to do so with integrity and authenticity and with the conceptual and formal imperatives
the possibilities and fault lines that define the present moment. In a world where local and international biennials have become
of the work adequately resolved. We looked for technical accomplishment and, in doing so, noted several problems with production
commonplace and operate in the service of stimulating economic growth and cultural identity, these projects have the potential to move
and presentation. Several works that had excited us when we first saw them as slides disappointed when seen in actuality and we wish
beyond familiar ideas and processes to envision new paradigms. A successful biennial contributes meaningfully to the dialogues and
to emphasize that decisions about the media and techniques used, about scale, and about framing and mounting are crucially important
exchanges that shape the course of contemporary art, locally and globally, and this usually benefits the artistic communities in which
to the success of a work of art. The Bermuda Biennial provides artists with an opportunity to take bold, new steps and we regretted
these events take place – the exponential development of contemporary art from Cuba after the establishment of the Havana Biennial is
that even the work we selected was often too safe and predictable. We invite these artists to deepen their queries for the next biennial
a case in point. The location of a biennial is crucially important, not only because of its effects on local art worlds, but also because
and, while not wishing to be prescriptive, remind them that Bermuda’s unique history and present day social conditions present a rich
a biennial’s unique perspective and significance is to a great extent determined by its local context.
field of possibilities.
The Bermuda Biennial is a national biennial, which consists exclusively of work by local artists, in the sense of artists of Bermudian
As the invited jurors for the 2010 Bermuda Biennial, we took a particular position on the purpose of this biennial and, by implication, asked
and other origins who are based on the Island and Bermuda-born artists who live elsewhere. As such, it is similar to, for instance, the
who this biennial is for and what it seeks to achieve. These are of course questions that need to be answered from within the Bermudian
National Biennial in Jamaica. While the Bermuda Biennial primarily addresses its local art world, the inherently cosmopolitan character
art world and we invite the Bermuda National Gallery and the Bermudian art world as a whole to engage in dialogue on this subject.
of Bermudian society and the use of overseas jurors extend its focus beyond the borders of Bermuda. The use of external jurors allows for each edition of the biennial to have its own specific focus, determined by dialogue between what was submitted by the artists, the curatorial and critical perspectives and decisions of the overseas jurors, the curatorial practices of the Bermuda National Gallery and, ultimately, the critical and audience reception of the resulting exhibition. The selection process for the 2010 Bermuda Biennal presented difficult challenges for us that seemed inherent to its location and the history. In making our selections, we felt compelled to move beyond the already ascribed visual vocabulary that reflects figuratively on the Bermudian landscape, the all-too-comfortable “island aesthetic” that can be seen in many of the local galleries and is well supported by the local art market and cultural tourism. We are not disputing the legitimacy of such work in the Bermudian context and recognize that much of it is highly accomplished in its own right, especially from a technical point of view. The exhibition we have selected, therefore, does not seek to provide a broad survey of the contemporary art scene in Bermuda. Had we done so, we would have produced a biennial which replicated much of the 2008 edition and unproductively encouraged stagnation. Instead, we have focused on work that departs from the safe, fixed positions we detected in much of what was submitted and charts more open-ended, critical trajectories, in keeping with what we believe should be the exploratory, developmental thrust of this biennial. This was the main criterion we used in our selection process.
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VEERLE POUPEYE
TUMELO MOSAKA
EXECUTIVE DIRECTOR
CURATOR OF CONTEMPORARY ART
NATIONAL GALLERY OF JAMAICA
KRANNERT ART MUSEUM, UNIVERSITY OF ILLINOIS
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WELCOME É com imenso prazer que, em representação do Governo
It is with great pleasure that, in representation of the
Português, venho dar as boas vindas a todos os artistas
Portuguese Government, I would like to welcome all the
que participam na “Exposição Bienal 2010 de Arte
participating artists in the 2010 Biennial – Exhibition of
Contemporânea” que a Galeria Nacional da Bermuda leva
Contemporary Bermuda Art hosted by the Bermuda
a efeito.
National Gallery.
A combinação das peças dos vários artistas, revelam,
The combination of all the pieces done by different artists,
através da sua arte, diversas culturas que, intercaladas
showing through their work so many different cultures, that
enriquecem e levam mais além, a cultura e a historia da
combined, enrich and expand furthermore the culture and
Bermuda.
the history of Bermuda.
Assim, deixo aqui o meu apreço e aplauso aos artistas que,
Therefore, I would like to express my appreciation and
com o seu trabalho, amor e convicção, que certamente não
applause to the artists that, with their work, love and
deixará de ser um êxito.
conviction, will make this a successful event.
Por último, quero também, dar os meus parabéns a todos
Finally, I also would like to congratulate everyone that has
aqueles que trabalharam para que evento se tornasse uma
contributed to put this exhibition together, making this event
realidade.
a reality.
A N A ROSA FREITAS ACTING CÔNSUL
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CONSULADO – GERAL DE PORTUGAL EM LONDRES
S.
R.
T H E A RT I ST S
MEREDITH ANDREWS................................................. 14 JOHN BATTERSBEE.................................................... 16 LOUISA BERMINGHAM FLANNERY............................... 18 WILLIAM COLLIESON.................................................. 20 JAMES COOPER......................................................... 22 GRAHAM C. FOSTER..................................................
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JOHN A. GARDNER..................................................... 26 CHARLIE GODET THOMAS.......................................... 28 KATHERINE HARRIOTT................................................ 30 SCOTT HILL...............................................................
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ANTOINE A.R. HUNT...................................................
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N. CHRISTINA HUTCHINGS......................................... 36 SUNELL LOMBARD..................................................... 38 IAN MACDONALD-SMITH............................................
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BILL MING.................................................................. 42 KEVIN MORRIS........................................................... 44 BRYAN RITCHIE.......................................................... 46 ALAN C. SMITH..........................................................
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MICHAEL WALSH........................................................ 50 CHARLES ZUILL.........................................................
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THE EXHIBITION WE HAVE SELECTED...DOES NOT SEEK TO PROVIDE A BROAD SURVEY OF THE CONTEMPORARY ART SCENE IN BERMUDA...INSTEAD, WE HAVE FOCUSED ON WORK THAT DEPARTS FROM SAFE, FIXED POSITIONS WE DETECTED IN MUCH OF WHAT WAS SUBMITTED AND CHARTS MORE OPEN-ENDED, CRITICAL TRAJECTORIES. Veerle Poupeye
Tumelo Mosaka
M E R ED IT H A N D R EWS Walls, 2009. Digital photograph, 24 x 36 in.
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Johny, 2008. Digital photograph, 36 x 24 in.
Meredith Andrews has been working as a professional photographer since the completion of her MA in 2000. Meredith’s latest exhibitions focus on an interest in human and social behaviours. In 2008 Meredith completed an eight-month trip to over twenty countries shooting a variety of projects. Most recently her focus has turned to formal portraiture. She currently splits her time between Bermuda and Sweden.
Guards, 2009. Digital photograph, 24 x 36 in.
J O H N BAT T E R S B E E Life’s Pulse, 2009. Pen and pencil, 18 x 23 in.
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My collection is inspired by free will and spirituality. Upon meditation, I then gain insight as to how the portrait should come together. I can visualize the design before compilation. I am often inspired by various colour palettes; it urges me to compose new designs with assorted colour schemes.
Guardians, 2009. Pen and pencil, 22 x 281/4 in.
L O U I SA B E RM I NG HA M F L A N NERY
Untitled (Hairy Bear as Frida), 2008. Hair, acrylic, fabric, ink. 6 x 4 in.
She Felt the Eyes of Others, 2009. Ink, gouache, water soluable graphite, hair, 6 x 4 in.
I have continued to develop my series “She was a Hairy Bear, she was a Scary Bear.” The work is centered on the use of my own hair, which carries for me, great symbolism in the emotional, social and hormonal lives of women. I have also started using Hairy Bear and the female experience as microcosm, reflecting and commenting upon broader societal
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taboos and prejudices.
Hairy Bear Complete (Parts 1 - 9...She felt trapped, She was a host, She couldn’t believe her ears, Sometimes She needed to cry, She felt great, She was the little red hen, She felt like dirt, She contemplated growing a beard, She had a puncture in her foot), 2009. Mixed media, 4 x 5 ft.
WI LLIA M COLL I ESON Detail
From the Outside Looking In, 2008. Mixed media, 72 x 144 x 4 in.
I believe that art should raise questions and not be separate from every day life. My work is based on the conviction that art and life, although unequivocally
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not the same, are indivisible.
Detail
JA M E S C O O P E R Helmut Sculpture #1, 2009. Digital photograph, 43 x 60 in.
I like to use readily available, ‘everyday’ objects to create sculptures. Many times they have a very short lifespan. Although the resulting photographs are all staged, it is important to me that they have a simple , ‘snapshot-ish’, aesthetic, so that they
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feel familiar even when the subject matter is unusual.
Helmut Sculpture #2, 2009. Digital photograph, 43 x 60 in.
G RA H A M C. FO ST E R Detail
Seas of Europa, 2009-10. Plywood, enamel, nylon, 12 x 12 x 12 ft.
Welded steel sculpture and painting are my two main mediums. Although I work
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mostly from imagination, tribal art and Bermudian iconography are strong influences.
J O H N A. G A R D N E R After the Party, 2008 (detail). Bermuda Stone, cement plaster, Plaster of Paris, candles, 12 ft x 12 ft x 12 in.
There is a freedom and creativity to contemporary visual arts that is a critical counterpoint to the constraints of our small and largely traditional society. Fortunately, the opportunity for work to be recognized is more accessible and that is a privilege. My price for a voice at our cultural table is a commitment to advance individual work and
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our collective culture till it can join a global debate as an equal member.
Scuba Tank, 2009. Photograph on lightbox, 8 x 12 x 8 in.
CHA RLI E GOD ET T H OMAS
There is a Time and Place, 2009. Film stills.
In my practice I investigate notions of time and transition. My work deals with capturing personal reflections on these themes, not so much presenting the facts, but rather conveying to the viewer their emotional dimension. As a first
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person artist, I explore the dichotomy between personal experience and its presentation to a public audience.
Those Times Seemed One, 2009. Digital photograph, 11 3/5 x 8 3/10 in.
K AT H E R I N E H A R R I OTT Detail
Back view
My work reflects my interest in social justice. I primarily focus on women’s rights and children’s rights and their experience of the world. However, I am also interested in the wider issues of
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oppression, socio-economics, power, inclusion and exclusion.
The Ties That Bind, 2009. Mixed media, 57 x 15 x 10 in.
S COTT H I LL Acrobat Forest, 2009. Digital photograph, 32 x 32 in.
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Art can change the world.
Untitled, 2009. Digital photograph, 66 x 44 in.
A N TO I N E A . R. H U N T Pickled 4, 2009. Toned and tinted cyanotype on paper, 45 x 30 in.
Pickled 5, 2009. Toned and tinted cyanotype on paper, 45 x 30 in. Pickled 2, 2009. Toned and tinted cyanotype on paper, 45 x 30 in.
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Small spaces are sometimes difficult to navigate; holding on to relevant reality is an interesting proposition.
N. C HRI STI NA H UTC H I N GS The intention of the work is to represent ideas or situations. These ideas and situations are the subject matter. The work is spare in form. The materials, and the titles, are chosen with the intention of adding to the meaning. For example, a string may be thought of as string, a line, or maybe a
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colonial tie.
Bermuda Map, 2008. Gouache, pencil, string on paper, 60 x 100 in. Lost, Found & Whistle, 2009. Gouache and pencil, string and whistle, 17 x 11 in.
SU N E L L LO M BA R D
Bus Slaves, 2009. Oil on canvas, 14 x 29 in.
I am fascinated by people; the way we interact, express ourselves and construct identity. The raw and imperfect have always appealed more to me than the pretty and polished. These caricatures are the result of honing in on our flaws and fetishes and exaggerating them. The characters and creatures that appear in my work are often anthropomorphic. In popular culture, animals are often ‘modified’ to suit our moral values. I find the awkwardness and tensions that arise from imposing human characteristics and values on animals interesting. In reaction to these trends I have been ascribing less flattering human qualities
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and habits to animals.
Pontius Attacks the Cookie Stack with Utter Disregard for Self-loathing That Is Sure to Follow, 2008. Oil on canvas, 11 x 14 in.
The Proposal, 2009. Pen, ink and gouache on paper, 151/4 x 281/2 in.
I A N M AC DO NA L D-S M I T H WC. Meersburg 550, 2009. Digital photograph, 33 x 50 in.
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Any comment would dilute the imagery.
WC. Amsterdam 1793, 2009. Digital photograph, 33 x 50 in.
B I LL M I NG Detail
My work includes traditional materials and techniques to subvert the complacent attitudes they have been burdened with by modernism and I draw inspiration from personal experiences and a diverse rich cultural heritage. The stimulus for Hands Across Da Table
Hands Across Da Table (Pass It On), 2008-09. Mixed media, 38 x 62 x 3 in.
was “From dreamtime to machine time�, a painting by
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Trevor Nickolls.
Detail
K EVI N M O R R I S My earlier works were done in a experimental way, influenced by Jean-Michel Basquiat and Jackson Pollock. Using words, images and colour, along with shape and texture, I slowly and methodically build up the picture’s surface, layer upon layer, until there is a pleasing overall balance, and a visually interesting and unified composition.
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Jack and Vincent, 2008. Acrylic on canvas, 35 x 34 in.
Basquiat, 2008. Acrylic on canvas, 32 x 23 in.
B RYA N R I TC H I E Bad Intentions, 2009. Monotype, 24 x 18 in.
Deceptive Touch, 2009. Monotype, 24 x 18 in.
I consider my work to be a collection of opinions derived from social interactions, media influences, daily rituals and memories. In particular, I enjoy exploring social and political paradigms through implied narratives. I question and parody the circumstance behind each opinion using indeterminate, yet seemingly familiar characters that are perpetually in a state
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of birth, coexistence and destruction.
Truth Seeker, 2008. Lithograph, 201/2 x 23 in.
ALAN C. SM ITH Lucifer: The Burning Key, 2008. Digital photograph, 36 x 23 in.
Survivor of the Flood, 2009. Digital photograph, 36 x 23 in.
The work that I am doing now and for the foreseeable future explores related narratives expressed in visual art, poetry, prose and performance. There are autobiographical and metaphoric elements to the visual art pieces,
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which are inspired by a series of poems entitled “granite gods�.
Angel G: Manisfestation, 2008. Digital photograph, 23 x 36 in.
M I C HA E L WA L S H Art is the opportunity to create reason. Where other disciplines lead us to uncover or trust in significance, Art is unique in giving us license to assign our own. Artists are obligated to provide us with the opportunity to cultivate
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our perspective.
Love, 1 cent, 2009. Performance, 60 x 60 x 60 in.
Evoking Nothing, 2008. Cardboard, 87 x 174 x 174 in.
C HA RLE S Z U I LL Spume, 2008. Mixed media, 22 x 30 in.
My art is based upon the observation of nature and resulting experimentation. I observe the trace marks of forces in nature and then try to replicate them in art. I do this by first attempting to understand the natural forces at play in creating such marks and then try to recreate the situation
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whereby such forces can interact with selected materials, so as to leave their trace in the materials.
Green Space, 2008. Mixed media, 38 x 521/2 in.
A RTI ST D ETA I L S
MEREDITH ANDREWS Bermudian, b. 1976
WILLIAM COLLIESON British/ Bermudian, b. 1946
EDUCATION 2000 MA, Goldsmiths College, University of London
EDUCATION 1965 Wallasey School of Art, UK
1999
BA, McGill University, Montreal
1995
International Baccalaureate, United World College of the Atlantic, South Wales
EXHIBITIONS 2009 Recent and Current Works, Bermuda Society of Arts, Joint Exhibition 2008 Group Exhibition, Kaleidoscope Arts Foundation, Bermuda 2008, 2006, 2004, 2002, 2000 Bacardi Limited Biennial, Bermuda National Gallery 1999 Recent Work, Bermuda Society of Arts, Joint Exhibition 1996 Solo Exhibition, Masterworks Foundation 1996 Solo Exhibition, Gallery Henoch, New York
EXHIBITIONS 2009 Konst, Saxnas Galleri, Sweden 2008 Taylor Wessing Prize, National Portrait Gallery, London 2008, 2006, 2004, 2002 Bacardi Limited Biennial, Bermuda National Gallery 2008 The World is Flat, Galleri G, Lund, Sweden 2007 Atlantic School, Masterworks Museum of Bermuda Art 2007 S&M, Kaleidoscope Arts Foundation, Joint exhibition 2006 Bermuda Professional Photographers Association Biennial, Bermuda Society of Arts 2005 Two, Bermuda Society of Arts 2005 Brick Lane, Interim Gallery, Bermuda 2002 Local, The Clapham Gallery, London 2002 People Places and Things, Galleri G, Sweden 2000 Scopophilia, Westland place Gallery, London
JOHN BATTERSBEE Bermudian, b. 1946 EXHIBITIONS 2009 Milton Hill & Students, Bermuda Society of Arts 2009 Mindframe, Bermuda Society of Arts I am a semi-retired house painter and musician. In 1980, I founded the Paget Football Club, and was the head of a martial arts school, which was held at the Admiralty House from 1975-1980. Currently, I am a volunteer for the Mirrors Programme. I have always shared a keen interest in helping young people, primarily due to my assorted background. I found this to be a great opportunity to share my knowledge and life experiences, in hope of helping someone to make a better life for him or herself. I have not had any formal art schooling but found it as a natural talent. My love for drawing has led me not only to composing numerous drawings but to also enter this exhibition and to obtain a better understanding of the art.
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JAMES COOPER Bermudian, b.1965 EDUCATION 1986 The University of Virginia EXHIBITIONS 2010 Six New Photographers, Shoreditch 51, London 2010 Without Sun Journal#1, galleri Stork, Oslo, Norway 2009 SenaSaktions, Primo Piano Gallery, Lecce, Italy 2009 I Wish, The Outlook, Shanghai, China 2008 Juxtapoz, Los Angeles, California 2008 New York Photo festival 2008 Exhibition C, Masterworks Museum of Bermuda Art 2008 Exhibition B, Kaleidoscope Arts Foundation, Bermuda
LOUISA BERMINGHAM FLANNERY Bermudian, b. 1972
GRAHAM C. FOSTER Bermudian, b. 1970
EDUCATION 1996 MA, Rhode Island School of Design 1994 BFA, Rhode Island School of Design 1990 Fine Arts Diploma, Bermuda College
EDUCATION 1989-90 The Blackheath School of Art 1990-91 Bermuda College, Dipolma in Fine Art 1991-93 The Museum of Fine Art, Boston, BFA
EXHIBITIONS 2008 Group Exhibition, Kaleidoscope Arts Foundation 2008, 2004, 2002, 2000 Bacardi Limited Biennial, Bermuda National Gallery 2005 Birds and Botanicals, Masterworks Rose Gallery 2003 New Drawings, Bermuda Society of Arts 2002 Contemporary Art, Bermuda National Gallery 2002 Visions International, Art Center Waco, Texas 2001 New Works, Masterworks Museum of Bermuda Art 2000 Bits and Pieces, Bouquet Garni Gallery, Bermuda
EXHIBITIONS 2009 The Hall of History mural, Commissioner’s House, The Bermuda Maritime Museum 2009 Charman Prize Competition (Winner), Masterworks Museum of Bermuda Art 2006, 2004, 2002, 2000 Bacardi Limited Biennial, Bermuda National Gallery 2004 Ace Gallery, Bermuda, Solo Exhibition
JOHN A. GARDNER Bermudian, b. 1958
SCOTT HILL Canadian, b. 1963
EDUCATION 1981 Rhode Island School of Design
EDUCATION 2003 Canadian School of Photography, Toronto 1982 Ontario College of Art & Design, Toronto
EXHIBITIONS 2008, 2002, 2000 Bacardi Limited Biennial, Bermuda National Gallery 1978 Bermuda Society of Arts, Solo Exhibition
CHARLIE GODET THOMAS British/ Bermudian, b.1985
ANTOINE A.R. HUNT Bermudian, b. 1967
EDUCATION 2006 Diploma in Foundation Studies, Wimbledon School of Art, London 2009 BA (Hons) Fine Art, Manchester School of Art, Manchester
EDUCATION 1998 Pinhole photography workshop, Greece 1997 Lived in Mexico six months working in marble, bronze, sandstone silver, 8x10 film 1994,1993,1992 Bronze sculpture at the Instituto San Miguel, Mexico, 8x10 film 1987 Bermuda College Certificate in Electronics
EXHIBITIONS 2009 MMU Degree Show Grosvenor Building, Manchester 2009 Three Years Later, Victoria Baths, Manchester 2009 Exhibit 3, Grosvenor Exhibition Space, Manchester 2008 Bacardi Limited Biennial, Bermuda National Gallery 2008 Hexagon, The Link Gallery, Manchester 2007 Tactile, Bermuda Society of Arts
KATHERINE HARRIOTT Bermudian/Canadian, b.1953 EDUCATION 2001 MEd, Acadia University, Nova Scotia 1999 BA, Carleton University, Ontario
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EXHIBITIONS 2009 Bermuda Professional Photographers Association Biennial, Bermuda Society of Arts 2008 Tech Art Exhibition, Bermuda Society of Arts 2008 Three Crabs in a Bucket: Sea Inside, Kaleidoscope Arts Foundation, Bermuda 2008, 2006 Bacardi Limited Biennial, Bermuda National Gallery 2006 Pixels & Poems, Bermuda Society of Arts and Bermuda College 2006, 2005, 2004 Members’ Exhibitions, Bermuda Society of Arts
EXHIBITIONS 2009 4 Centuries: Evolving Art, Bermuda National Gallery 2009 The Ties That Bind, Till Death Do Us Part, Bermuda Society of Arts 2009 Cultural Memory: Transdiasporic Art Practises, Woman Made Gallery, Chicago 2008 Charman Prize Competition (Winner), Masterworks Museum of Bermuda Art 2008, 2006, 2004 Bacardi Limited Biennial, Bermuda National Gallery 2007 Monotype Prints, Bermuda Society of Arts 2005 International Exhibition, San Diego Art Institute 2003—2009 Various Members’ and Invitational Exhibitions at Bermuda Arts Centre at Dockyard, Bermuda Society of Arts & Kaleidoscope Arts Foundation
EXHIBITIONS 2008, 2006, 2002 Bacardi Limited Biennial, Bermuda National Gallery 2004 Hamilton by Night, Harbour Room, No. 1 Shed, Solo Exhibition 2004 Bermuda Society of Arts, Solo Exhibition
N. CHRISTINA HUTCHINGS Bermudian, b. 1953 EDUCATION 1983 M Arch, University of Virginia 1976 BFA, Painting, Tyler School of Art, Philadelphia EXHIBITIONS 1990 Invited Group Show, Marymount Manhattan College, New York 1989 Invited Group Show, CUNY, New York 1988 Interior/Exterior: Four Visions, Sharon Arts Center, New Hampshire 1978 Small Works, Grey Art Gallery, New York University 1977 The Three Nancys, Bermuda Society of Arts 1976 Bicentennial Exhibition, Moore College of Art, Philadelphia 1974 Selected Student Work, Tyler School of Art in Rome
SUNELL LOMBARD South African, b. 1983
KEVIN MORRIS British/ Bermudian, b.1974
EDUCATION 2008 MPhil, University of Stellenbosch, South Africa 2006 BFA, University of Stellenbosch, South Africa
EXHIBITIONS 2009 Contemporary Conversations: Kevin Morris, Bermuda National Gallery 2009 4 Centuries: Evolving Art, Bermuda National Gallery 2009 Winter Show, Estudio, Kifissia, Athens 2008 African Affinities, Bermuda National Gallery 2008, 2006, 2004, 2002 Bacardi Limited Biennial, Bermuda National Gallery 2007 Recent Works, Bermuda Society of Arts, Solo Exhibition 2006 Winter Exhibition, The Christiana Carellas Gallery, Nea Psychiko, Athens,Greece 2005 Summer Show, Bermuda Society of Arts 2004 Alexander Clayton Gallery, Stratford-upon-Avon, England, Group Exhibition 2004 The Gallery, Stratford-upon-Avon, England, Juried Exhibition 2003 Primary Colours, The Bermuda Arts Center at Dockyard, Joint Exhibition with Edwin Smith 2002 Artists Up Front Street, Masterworks Museum of Bermuda Art, Solo Exhibition 2001 K.O.R. Gallery, Ontario, Canada, Group Exhibition
EXHIBITIONS 2010 Charman Prize Competition, Masterworks Museum of Bermuda Art 2009 Gallery 400, Bermuda Society of Arts 2009 Tech Art Exhibition, Bermuda Society of Arts 2009 This is Bat Country, Bermuda Society of Arts, Solo Exhibition 2008 Members Show, Bermuda Society of Arts 2008 Master’s Degree Exhibition, US Gallery, Stellenbosch 2005 Final Exhibition at the US Gallery in Stellenbosch, South Africa 2005 Section 53 Student Exhibition at the US Museum in Stellenbosch, South Africa
BRYAN RITCHIE Canadian/ Bermudian, b. 1969 IAN MACDONALD-SMITH British/ Bermudian, b. 1964 EDUCATION 1984 Acadia University, Nova Scotia 1983 Bermuda College EXHIBITIONS 2008 Simply Abstract, Suite 12G, New York, Solo Exhibition 2008, 2000 Photographers Group Show, Bermuda Society of Arts 2008, 2006, 2004, 2002, 2000 Bacardi Limited Biennial, Bermuda National Gallery 2008 Charman Prize Competition, Masterworks Museum of Bermuda Art 2007 Photographic Competition, Bermuda Society of Arts 2003 The Art of Light and Shape, Olympus Digital Exhibition, New York, Chicago, Toronto 2002 Digital America, Olympus Digital Exhibition, New York, San Francisco, Hawaii 2001 Worlds Within Worlds, Olympus Digital Exhibition, New York, Chicago, Hawaii 2000 The Digital Photography Exhibition 2000, Park Avenue, New York
EDUCATION 1995 MFA, University of Colorado at Boulder 1993 BFA, University of Windsor, Ontario EXHIBITIONS 2006 Nebraska Gallery Series, Gallery 239, Chadron State College, Nebraska 2006 Seemingly Innocent, Schwalbach Gallery, University of Wisconsin-Baraboo 2005 Nebraska Prints, Bellevue University, Nebraska 2000 Works on Paper, Emison Art Center, DePauw University, Indiana
ALAN C. SMITH Bermudian, b.1965 BILL MING Bermudian, b. 1944 EDUCATION 1980 BA (Hons) Maidstone College of Arts, Kent EXHIBITIONS 2009 Sculpture & Collage, Galerie, Newark on Trent, Solo Exhibition 2009 32’N/64’W A Revelation, Masterworks Museum of Bermuda Art, Group Exhibition 2005 From Ship to Shore, Bermuda National Gallery, Solo Exhibition 2004 Voices From Da Wood, Art Exchange Gallery, Nottingham, Solo Exhibition 2004-06 Memorial for Those Lost at Sea, St David’s, Bermuda
58.
EXHIBITIONS 2008, 2006 Bacardi Limited Biennial, Bermuda National Gallery 2007 TECHART Show, Bermuda Society of Arts 2005, 2003, 2002 Computer Generated Art, Bermuda Society of Arts 2004 Retrospective, Mail Art, Visual Poetry, Kaleidoscope Arts Foundation 2004 Silhouettes and Shadows, The Bermuda Arts Centre at Dockyard 2001 Wavelengths, The Bermuda Arts Centre at Dockyard
MICHAEL WALSH Bermudian/ British, b. 1976 EDUCATION 2004 MFA, Duncan of Jordonstone College of Art and Design, Dundee University, Scotland 2000-2002 Additional Fine Arts courses, Mount Allison University, New Brunswick 1998 BFA, Mount Allison University, New Brunswick EXHIBITIONS 2009 Buoyancy, Kaleidoscope Art Foundation, Bermuda, Solo Exhibition 2009, 2008 Charman Prize Competition, Masterworks Museum of Bermuda Art 2007 The Weight of Being, Bermuda Society of Arts, Solo Exhibition 2003 Master’s Expo, Cooper Gallery and Generator Gallery, Dundee, Scotland 2003 Wearers of the Rodger Daltrey Cape Unite, Cooper Gallery, Dundee, Scotland 2002 Young Sculptors, Moncton Public Library, New Brunswick, Canada 2001 Le Salon des Refuses, Struts Gallery and S.T.A.R.T. Gallery, Sackville,New Brunswick 1998 Graduate Exhibition, Owens Art Gallery, Sackville, New Brunswick
CHARLES ZUILL Bermudian, b. 1935 EDUCATION 1984 PhD, New York University 1969 MFA, Rochester Institute of Technology, New York 1958 BA, Atlantic Union College, Massachusetts EXHIBITIONS 2009 National Art Club, New York, Group Exhibition 2009 Recent and Current Works, Bermuda Society of Arts, Joint Exhibition 2008, 2006, 2004, 2002 Bacardi Limited Biennial, Bermuda National Gallery 2006 Charles Zuill Retrospective: The Science of Art, Bermuda National Gallery 2004 Box Factory, St. Joseph, Michigan, Solo Exhibition
T H E EXHIBITION SEEKS TO R E P R E S ENT ARTWORK THAT C H A L L E N G ES THE TRADITIONAL A N D CONTINUES TO DRIVE RA D I C A L A E STHETIC INNOVATION. Sophie Cressall
60.
E XHI B I T I O N L I ST I N G
MEREDITH ANDREWS
LOUISA BERMINGHAM FLANNERY
JOHN A. GARDNER
ANTOINE A.R. HUNT
IAN MACDONALD–SMITH
BRYAN RITCHIE
CHARLES ZUILL
Walls, 2009 digital photograph 24 x 36 in. Collection of the artist
HairyBear Complete (Parts 1 - 9...She felt trapped, She was a host, She couldn’t believe her ears, Sometimes She needed to cry, She felt great, She was the little red hen, She felt like dirt, She contemplated growing a beard, She had a puncture in her foot), 2009 mixed media 4 x 5 ft. Collection of the artist
Scuba Tank, 2009 photograph on lightbox 8 x 12 x 8 in. Collection of the artist
Pickled 5, 2009 toned and tinted cyanotype on paper 45 x 30 in. Collection of the artist
WC. Amsterdam 1793, 2009 digital photograph 33 x 50 in. Collection of the artist
Truth Seeker, 2008 lithograph 20 1/2 x 23 in. Collection of the artist
Green Space, 2008 mixed media 38 x 52 1/2 in. Collection of the artist
CHARLIE GODET THOMAS
ANTOINE A.R. HUNT
IAN MACDONALD–SMITH
ALAN C. SMITH
There is a Time and a Place, 2009 film 25 in. screen Collection of the artist
Pickled 2, 2009 toned and tinted cyanotype on paper 45 x 30 in. Collection of the artist
WC. Meersburg 550, 2009 digital photograph 33 x 50 in. Collection of the artist
Lucifer: The Burning Key, 2008 digital photograph 36 x 23 in. Collection of the artist
CHARLIE GODET THOMAS
N. CHRISTINA HUTCHINGS
BILL MING
ALAN C. SMITH
Those Times Seemed One, 2009 digital photograph 1 3/5 x 8 3/10 in. Collection of the artist
Lost, Found & Whistle, 2009 gouache, pencil, string, whistle 17 x 11 in. Collection of the artist
Hands Across Da Table (Pass It On) 2008-09 mixed media 38 x 62 x 3 in. Collection of the artist
Survivor of the Flood, 2009 digital photograph 36 x 23 in. Collection of the artist
KATHERINE HARRIOTT
N. CHRISTINA HUTCHINGS
The Ties That Bind, 2009 mixed media 57 x 15 x 10 in. Collection of the artist
Bermuda Map, 2008 gouache, pencil, string on paper 60 x 100 in. Collection of the artist
SCOTT HILL
SUNELL LOMBARD
Acrobat Forest, 2009 digital photograph 32 x 32 in. Collection of the artist
Bus Slaves, 2009 oil on canvas 14 x 29 in. Collection of the artist
SCOTT HILL
SUNELL LOMBARD
Untitled, 2009 digital photograph 66 x 44 in. Collection of the artist
Pontius Attacks the Cookie Stack with Utter Disregard for the Self-loathing That Is Sure to Follow, 2009 oil on canvas 11 x 14 in. Collection of the artist
MEREDITH ANDREWS Johny, 2008 digital photograph 36 x 24 in. Collection of the artist
WILLIAM COLLIESON MEREDITH ANDREWS Guards, 2009 digital photograph 24 x 36 in. Collection of the artist
From the Outside Looking In, 2008 mixed media 72 x 144 x 4 in. Collection of the artist
JAMES COOPER JOHN BATTERSBEE Life’s Pulse, 2009 pen and pencil 18 x 23 in. Collection of the artist
Helmut Sculpture #1, 2009 digital photograph 43 x 60 in. Collection of the artist
JAMES COOPER JOHN BATTERSBEE Guardians, 2009 pen and pencil 22 x 28 1/4 in. Collection of the artist
Helmut Sculpture #2, 2009 digital photograph 43 x 60 in. Collection of the artist
GRAHAM C. FOSTER LOUISA BERMINGHAM FLANNERY Untitled (Hairy Bear as Frida), 2008 hair, acrylic, fabric, ink 6 x 4 in. Collection of the artist
Seas of Europa, 2009-10 plywood, enamel, nylon 12 x 12 x 12 ft. Collection of the artist
JOHN A. GARDNER LOUISA BERMINGHAM FLANNERY She Felt the Eyes of Others, 2009 ink, gouache, water soluable graphite, hair 6 x 4 in. Collection of the artist
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After the Party, 2008 Bermuda stone, cement plaster, Plaster of Paris, candles 12 ft x 12 ft x 12 in. Collection of the artist
ANTOINE A.R. HUNT Pickled 4, 2009 toned and tinted cyanotype on paper 45 x 30 in. Collection of the artist
ALAN C. SMITH KEVIN MORRIS Jack and Vincent, 2008 acrylic on canvas 35 x 34 in. Collection of the artist
MICHAEL WALSH KEVIN MORRIS Basquiat, 2008 acrylic on canvas 32 x 23 in. Collection of the artist
The Proposal, 2009 pen, ink, gouache on paper 151/4 x 281/2 in. Collection of the artist
Love, 1 cent, 2009 performance 60 x 60 x 60 in. Collection of the artist
MICHAEL WALSH BRYAN RITCHIE Bad Intentions, 2009 monotype 24 x 18 in. Collection of the artist
Evoking Nothing, 2008 cardboard 87 x 174 x 174 in. Collection of the artist
CHARLES ZUILL BRYAN RITCHIE
SUNELL LOMBARD
Angel G: Manisfestation, 2008 digital photograph 23 x 36 in. Collection of the artist
Deceptive Touch, 2009 monotype 24 x 18 in. Collection of the artist
Spume, 2008 mixed media 22 x 30 in. Collection of the artist
B E R M U DA N AT I O N AL GALLERY C I TY H A L L & A RT S CENTRE H A M I LT O N , B E R M UDA (441) 295-9428 • www.bng.bm • director@bng.bm