BARBADOS ARTS EVENTS
JANUARY 2016
Cover Art Fine Art Photography by Andre Donawa
All information correct at time of publishing. Please phone or email relevant galleries to confirm dates of events as they may be subject to change. Updates as news of arts events comes in each month may be viewed on http://corriescott.net/page28.htm Published by Corrie Scott
corriescott@gmail.com
www.corriescott.net
Welcome to Barbados Monthly Arts Events Thank you to the Gallery of Caribbean Art and The Art Hub who have teamed up to pay for an upgrade for this magazine through 2017. This means The Visual Arts Barbados Magazine may now be viewed with no ads and downloaded. This is a completely free magazine created out of the need to inform so that we can get to exhibitions, artist talks, workshops and more, rather than hearing about events after they have taken place. I encourage anyone with a creative event or a new piece of work to get in contact with me at corriescott@gmail.com 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
The Gallery of Caribbean Art presents FREE EXPRESSION', a group exhibition featuring Cathy Alkins, Chris Richards, Liz Stewart and Chris Welch. Opening reception Sunday 8th January, 2017. 4.30pm - 8pm. All are welcome. Exhibition ends February 1st. Tel 419 0858
www.artgallerycaribbean.com
GALLERY OF CARIBBEAN ART The Gallery Of Caribbean Art Galleries presents the works of a variety of artists Northern Business Centre, Queen Street, Speightstown, St. Peter www.artgallerycaribbean.com
Tel: (246) 419-0858
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 arthub.barbados@gmail.com
https://www.facebook.com/ArtHubBarbados
Art Classes with Tracey Williams, Golden Art Educator (GAEP). Learn New Techniques and create your own innovations with textures, pouring mediums and transfers. Classes in acrylic painting, oil painting or mixed media. From realism to abstract. Specialty workshops and demonstrations. Tuition for CXC Art Classes are also available. #28 Glen Acres, Ellerton, St George Tel (w) 436-2950 (h) 435-0736 (m) 231-6847 Arthub.barbados@gmail.com
JANUARY CLASSES Monday January 16th 9.30am – 11.30am Thursday January 19th 6.30pm – 8.30pm Friday January 20th 9.30am – 11.30am Saturday January 21st 9.30am – 11.30am
CHERISE HARRIS
AKILAH WATTS
PENNY ROLLITT
SUSAN ALLEYNE-FORDE
YASMIN VIZCARRONDO
JULIANNE GILL
CORRIE SCOTT
ALISON CHAPMAN-ANDREWS
CORRIE SCOTT
KRAIG YEARWOOD
ROSEMARY PARKINSON
NATALIE ATKINS-HINDS
HEIDI BERGER
AMANDA SPRINGER
GAIL OELMANN
HEATHER-DAWN SCOTT
MICHELLE RODRIGUEZ-BOWE
ANNA GIBSON
ANNA GIBSON
Anonymous Charity Art Show at The Frame & Art Gallery (excluding those with a red dot)! All pieces are $350 BBD with a portion of the proceeds benefiting the Nature Fun Ranch. Over 180 original paintings created in diverse styles and subject matters will be featured on 12� x 12� canvases to be sold anonymously. The artist remains a mystery, until after the purchase. All paintings will be sold for $350 BBD and make for great gifts. A portion of the proceeds will go towards the Nature Fun Ranch, run by Corey A Lane, which helps young people with their personal development, by cultivating positive outlooks. The ranch allows young people to speak freely with one another about important topics, including HIV/AIDS, providing them with a positive focus to guide their lives in the right direction, in a rural setting while tending to horses, working vegetable patches, or managing fish hatcheries. ParticipatingArtists: Akilah Watts, Alanis Forde, Alexandra Hanschell, Alison Chapman Andrews, Amanda Springer, Ancel Daniel, Andy Peirce, Angela Simpson, Anika Millington, Anna Gibson, Barbara Pickering, Bethany Pile, Caroline Gill, Carol Dawn Hunte, Cathy Alkins, Cherise Harris, Christine Farmer, Corrie Scott, Darla Trotman, Deanne Kennedy, Donald Johnson, Erika Haddad, Elizabeth McKenzie, Gail Oelmann, Heather Dawn Scott, Heather Meyer, Heidi Berger, Helen Tulip, Jackie Philip, Jared Burton, Jean Blades, Jeanne Morgan, Julianne Gill, Julia Seymour, Justin Downey, Justin Small, Kate Hoenen, Keyonne Yarde, Kraig Yearwood, Kristine Choy, Linda Hallwood, Linda Tudor, Loralie Seymour, Lorna Rose, Lorna Wilson, Maria Stanford, Mario Holder, Markley Clarke, Michael Alkins, Michelle Bowe, Moreen Beale, Morissa Singh, Natalie Atkins-Hinds, Norma Farmer, Patricia Hernandez, Penny Rollitt, Rachel Mouttet, Rosalie Chiara, Roseanne Milligan, Rosemary Ellis, Rosemary Parkinson, Shanika Grimes, Shari Garnes, Sian Pampellone, Simply Saffie, Stella Hackett, Sue Williams, Susan Alleyne Forde, Tanya Foster, Versia Harris, Wayne Hinds, Yasmin Vizcarrando and Yolande Lewis.
All art may be viewed here http://frameartco.com/gallery/anoymous-2016 /
'SQUAWK!' Art Exhibition by Catharine Cummins Opening Night reception January 15th 5pm-midnight at Drift Ocean Terrace Lounge, Holetown, St James All are welcome Exhibition continues until February 15th Open daily 5pm-midnight Cathy 256 3434
Drift 432 2808
NEVILLE CRAWFORD Neville Crawford's exhibition "A Changing Barbados" Sun Dec 4th, - Dec 17th at the Grand Salle, Central Bank, Bridgetown.
THE BARN ART CENTRE The Barn Art Centre. A new art space. "We are offering approximately 650 sq. ft. of space for short term rentals for art and craft related workshops, classes, events, summer camps, yoga, etc., in an old plantation yard at Small Ridge in Christ Church. Juliana Inniss - 231-0335 Jo Anne Johnson - 253-8702 Email - thebarnartcentre@gmail.com
Created in 2016, The Barn Arts Centre is dedicated to the promotion and development of art-based learning. Our mission is to provide a unique learning environment for diverse audiences to experience a range of art based programs. The Centre provides a space for the community and local resource persons to offer and conduct classes and workshops in painting, drawing, pottery, and textiles. We are dedicated to providing an environment that is meaningful to the arts in Barbados. Located on the breezy Small Ridge Plantation in Christ Church, (just ten minutes away from Sheraton Centre. The Barn Arts Centre offers an escape from the quickening pace of life. Here you can be immersed in an environment that fosters your creativity. Our 570 square foot studio is equipped to provide more than adequate space to conduct a variety of classes and workshops. The studio is well lit and ventilated and can comfortably accommodate up to 15 persons. We offer a variety of opportunities for learners, including exhibitions, artist lectures, and single workshops, as well as adult and youth classes. Our artistic programming continues to be essential to our goal of inspiring creativity, fostering self-discovery, and nurturing an appreciation of the arts. The Founders of The Barn Arts Centre are Jo- Anne Johnson and Juliana Inniss. Jo Anne started doing ceramics as a hobby in 1982 and has operated a ceramics studio since 1987, providing services and supplies to people who wished to do slip casted ceramics as a hobby. She has taught many different finishing techniques to her students and learnt many more through experimenting, and trial and error. Juliana has been working with pottery and ceramics since 1992. She began by hand-painting local pottery with bold and colourful designs. After graduating University she made the decision to pursue her passion for art through the medium of ceramics. Juliana has worked with a number of techniques such as casted ceramics, handbuilding, surface decoration and raku firing. Juliana was first introduced to Raku in 2006 during a two week residency in St. Thomas USVI, with this exposure Juliana began mixing her own glazes, constructed her own kiln and has been Raku firing since then. https://www.facebook.com/thebarnartcentre/
Leandro Soto at Barbados Museum 2014 https://goo.gl/photos/iTJDZWAEFbowaq6y8
INTERVIEW WITH LEANDRO SOTO Icil Phillips CHANNELLING ‘LO REAL MARAVILLOSO’:
LEANDRO
SOTO
IN
BARBADOS
Leandro Soto arrived in Barbados in 2009, after a long sojourn outside of Cuba, accompanying his wife Dr. Grisel Pujala, who took up a post as a Lecturer in Foreign Languages at UWI, Cave Hill. From his residence, Cloud’s Nest, which is perched on Gun Hill overlooking the surrounding terraces of cane fields, the city of Bridgetown and the sea, Soto is immersed in his work of creating scenic designs, sharing his space with other artists and passing on the craft of scene painting to interested Barbadians. From his verandah we can hear the sounds of birds, barking dogs, the occasional noise from vehicles climbing the hill and the ever present tinkling chimes that frame his outdoor space. Soto is a small bespectacled man with a voice that is soft yet commanding. He is fully engaged for the duration of our meeting moving between his living room temporarily accommodating scene painting for his latest work for the Folk Concert being produced by the National Cultural Foundation [NCF], his studio and the remainder of the house that carries his varied collections of art work. He recently concluded an exhibition of his scenic designs at the Barbados Museum entitled Leandro Soto: Latino Theatre Design; Barbadian Theatre Practice on May 23, 2014 curated by Ayesha Gibson-Gill who directed work which Soto designed and whose idea it was to share Soto’s work with the public. IP: Thanks for allowing me to conduct this interview, Leandro. I saw your exhibition at the Barbados Museum and was totally taken by its interpretation of Barbados. Tell me where your life as an artist began. LS: My life in art began in Cuba in Cienfuegos from about 5 years old. I was surrounded by art from an early age .My father ran a workshop that made decorations for the city so I was aware that in Cienfuegos art as a part of life was very important. I discovered through drawing and painting that things can be transformed. By age 11 years I had had very elemental training in art alongside my regular education. There are art schools in the towns in Cuba and in order to qualify to enter you do a week of tests. Here there are musicians, visual artists-painters and sculptors, dance, both modern and classical ballet. IP: You spent your whole young adult life immersed then. LS: My whole life was in that direction. By 20 years I was a professional. I picked up that through the arts you can transform things. If it’s a negative emotion you can transform it into something positive. Art is a healing process, a shamanic process.
IP: What happened after you left Cienfuegos? LS: I attended the National School of Art in Havana and graduated in 1976. I returned to study theatre and finished in 1982.I realized that Caribbean artists need to have several art disciplines; they must be multi-disciplined. Because of the complexities of the culture we need many combinations of work to survive. You have to have about five professions simultaneously. I believe in the interdisciplinary approach also and taught that way for the eight years I spent at the University of Arizona in the Interdisciplinary Art and Performance Department. In Mexico in 1998 I created an art school where the students had to pass through all the disciplines. IP: You seem to have done a great deal before arriving here. Tell me about your Barbados experience so far. LS: I came to Barbados to be a ‘house-husband.’ [He chuckles] My wife Grisel, came to teach at the University in the Foreign Languages Department and I stayed at home, but truly it has been a magnificent experience coming to the AngloCaribbean. It is different from the Spanish Caribbean and so far it has helped me have a better vision of who we are as a people. IP: What about Barbadian theatre got you interested? LS: Where Barbados is concerned art is more developed especially Literature and theatre. These two are well combined. The theatre world is very active; there is always something happening. Caribbean people on the whole are ‘performative’ people and theatre is a powerful medium for the interaction between the audience and the play itself. Here the relationship is very dynamic; here theatre is everything. IP: Explain that some more Leandro, because I think we believe that our theatre has to play catch up. LS: Look, you have excellent visual artists who help to make theatre the most complete art form. The artists are multidisciplinary too. You have a highly contextualized culture because people understand the symbols being used. This gives the designer the freedom to experiment. There is a combination of art and music in performance and you can create a set that can be metaphoric, abstract. Barbados is very peculiar, very unique and it opened a door for me to explore more fully my African heritage in my scenic designs. IP: What did you find in our culture that was so inspiring. We tend to think our Africanness is buried; is part of the underground culture. LS: African culture was allowed to be practiced in the Spanish Caribbean and definitely in Cuba- religion and art. Antonio Benitez-Rojo, who I was once neighbours with, argues that all of the Caribbean has a lot in common; his concept of ‘repeating islands.’ The plantation culture produced a variety of mixtures. Think of the Hindu migration to Cuba as being part of that mixture. But in each island we are mixed in a different way even though we have similar components.
IP: So how does this help with your vision? How does the modern experience in Barbados affect your outlook and your work? LS: Coming to Barbados was coming to the Caribbean, was returning home. It has led to me understanding Cuba even more now I have this Barbadian experience. We have the same components but here interpreted differently. In 1994 I met Annalee Davis in Jamaica at a two-week intense retreat for artists from the Caribbean and I shared living quarters with a RasTafarian Jamaican artist, Leonard Daley who was self-taught and who had a great deal of spirituality and revolutionary ideas. Meeting them made me realize that they represent a new generation of intellectuals in their 30s and 40s who have an awareness of integration not only African roots and native pre-Columbian expression but are doing a new ‘cooking.’ IP: Is there anything else that helps to explain your artistic process? LS: I lived too in the Yucatan in Tabasco and Merida both in Mexico. This continental Caribbean is extremely complex, rich in its diversity and this is a challenge for artists, integration of this complexity; how to put it into words; how to make it artistic expression. Wherever I go I find a connection between that world and the Caribbean way of living: Germany, China, India, Mexico, Peru, Arizona, New York. Where ever I move I form a connection. I see this as not singular to me but as a manifestation of a Caribbean condition. And I embrace fully the multi-disciplinary idea. I write, I paint and perform. I believe firmly that heritage needs to be passed on to future generations and we need to keep going with this process and develop it as our model, the multi-disciplinary, multicultural model. For example, Barbados has to embrace the Indian culture as well because dividing Barbados between black inhabitants and white inhabitants is limiting. Barbados is more than that. Maybe to add to this salad “Hispanic flavor” is my modest contribution. IP: Given all that you have said, how is your scenic design work in Barbados embracing this complexity, this diversity? LS: Travelling back from Arizona to the Caribbean I thought of my own experience in Cuba where the sand on our beaches in Cienfuegos had come from Liverpool as ballast in ships. This sparked some memories when I saw Barbados with its sandy beaches. My first work was for the Errol Barrow Centre for Creative Imagination [EBCCI] Theatre Ensemble class, Seven Tonalities of Blue. I was made familiar with the Anglo-Caribbean, something I had never done before, so I thought having travelled across so many waters to honour Yemaya and Eleggua in combination. In India Shiva is associated with fire and drums too like Shango. I wanted to look at water and fire and find the balance in that contradiction, the two different energies, through the creativity in my work. So Seven Tonalities was a performance, an installation, a metaphoric poem dedicated to the Caribbean.
Yemaya is one of the Orishas and I wanted to represent her in different manifestations: as the shores, the deep water, as a very strong, masculine expression, as the waves and so on. There are seven paths that you can travel to embrace the deity so the play was about this. I designed the set, the costumes and did the direction assisted by Sonia Williams. The students found and created the characters that they identified with strongly. By the time we came to performance the students loved the process of arrival. These are the young generation of artists. IP: Is there any other play you designed that embraces the Orishas? LS: Simone’s Place that was shown at the beginning of May 2014 written by Glenville Lovell and directed by Russell Watson. The design was conceived as a tribute to Oya the deity who lives at the gate of life and death. She is on the border of everything-nationality, ethnicity, gender. She rules the winds, the hurricanes. The seven colours of the set were her colours and the circle on the floor depicted her rhythm, her movement. The set was designed so that the flats that represented the sides of the house and bar were suspended and they would lean outwards from being perpendicular to horizontal as part of the spectacle at the end, extending the playing space and expanding the energy of the dancers towards the audience. IP: How did you come to begin using the Afro-Cuban religious symbols in your design? LS: I grew up as a Marxist and I see this ideology as European like Christianity. I am part of the first generation of Cuban artists after the Cuban Revolution to work with Yoruba culture; to examine it, give it expression. I find it allows me to integrate my exploration with art and theatre. I take it as inspiration. IP: How do you go about dealing with the two ideologies? LS: It was difficult to deal with the instinctual energy of the Orishas as against the Marxist ideology. My father rejected the African culture and heritage and only had portraits of our Cuban leaders in the house. For me performance art, installation was a way to deal with, approach the clash of the two contending perspectives. IP: So what in your experience in Barbados that you find noticeable, worthy of comment? LS: The flavour of the Barbadian culture is unique. There is a generational connection here-a respect for elders; a connection with ancestors. There is no generation gap continuity; each generation has its own voice. The work that I see belongs to the ‘blooming’ age where there are new playwrights and directors who are working very hard to create new work-writing, conceptualization and presentation. I have done three plays with Winston Farrell, playwright and director; I have designed for Russell Watson who I mentioned already; I have done scenic design for Professor Sir Hilary Beckles’ plays directed by Harclyde Walcott. I have worked with Ayesha Gibson-Gill on her direction of the It So Happen Suite. All of these plays are creating a cultural image of Barbados. History is a theme especially in Beckles’ work and the theatre becomes an important manifestation and exploration of self-identity.
IP: The new work you have designed for, how do you view what is happening on the ground? LS: The young generation is dealing with salient themes and learning how to represent them. These are new things and so they have to find new semantics, new forms, a new language and how to represent these. I have brought a Latino experience to the theatre, and another way to deal with theatre is through its visual aspect. Everybody was aware of the effects and the context in House of Landship. The idea of the old man, the Commander on stage continuously and then the action as a representation of the events associated with the Landship going on in the mind of the Commander. I call it a ‘combination of visual dramaturgy’ where the artistic rendering of the mise-en-scene is connected to inner thoughts as well as the outer exhibition of those thoughts. IP: How about Looking Back at Sodom, what about your choices there? LS: The idea behind that was that the prostitute’s life-her being unwanted and having to come back to the life she left would be the motif for the play represented in the abundance of trash, discarded items on the stage. The trash made of torn newspapers, cloth and paint was the metaphor for the main character’s existence. Barbadian directors understand the visual metaphor. There is absolute acceptance of my work. In the USA I would have to produce a more realistic set. IP: Janelle Headley from Operation Triple Threat, directed a youth musical called 13 which you designed, tell us about that. I noticed that style was different from the others. LS: It’s an American play but I based everything on what was taking place in the main character’s head, so the imagesstudent lockers, library stacks and so on were done as drawings from a notebook; as line drawings that simulated the scribbles of the main character. The director used projections on the scrim where necessary to make them more effective. I bring Latin American theatre. In the 80s and 90s we made extraordinary efforts to create visual imagery, so that is what I bring to Barbadian theatre. IP: So what would you say is your style? What can we learn from you? LS: Living with the Mayan people in South Mexico back in 1988, I bring several influences from that experience. I did experiments with that Mayan community fusing Cuban ideas in art, teaching different approaches which led to an explosion of artistic ideas and endeavours. They created their own indigenous dance companies, theatre companies which spawned further work as directors of art, dance, music and theatre programmes that reflected their interests, their culture and identity. I come here with this background. I don’t have a Leandro Soto style. I belong to the school of Latino-American theatre and what is happening is that there is a merging of a Hispanic style with Anglo-Barbados.
Foreign artists come to my studio to do work and an artist, Cuban–born from Montreal, has come and helped me in the work with the Israel Lovell Foundation painting costumes and sharing ideas on scene painting. This is why I invited Matthew Squires to assist with painting the backdrop for the upcoming Folk Concert. He is a multi-disciplined artist with interests and qualifications in music, visual art and now theatre. I am another cultural presence, the Afro-Latino presence integrating with the Anglo-Caribbean. Mine is the experience of a Caribbean artist who has travelled the world and has come back home. The landscape here is the same as in Cuba, the difference is the language. But we have many things in common. IP: It is wonderful to hear that. How do you conceive your design? LS: I read the play, then I dream the play. I allow it to take over; create the fundamentals of the design; allow it to create images. It is a shamanic way to interpret the play, a technique I learned from the indigenous people I worked amongst allowing dreams to produce the imagery I am going to use. This is the technique that is being used for the Folk Concert. IP: So what else about Barbados provides a stimulus for your design work? LS: I see Barbados in a romantic way. This is an idea that evolved from the famous Cuban writer Alejo Carpentier who spent time here between 1956-1958.He was in exile in Venezuela and came here on a research-vacation for finishing his novel Explosion in a Cathedral. He described his writings then as ‘the wonderful real,’- lo real maravilloso - a concept he applied when writing about Haiti. This is a forerunner to Marquez and magical realism. He saw ‘wonderful real’ as the idea that reality of itself is so amazing, that it is enough, no embellishment needed. I came to Barbados around the same age as Carpentier. He was the ancestor who gave me the entrance into ‘the wonderful real.’ I have approached Barbados in this way ever since. IP: One of your exhibitions over the last two years was a tribute to Carpentier. Was it well received? LS: Absolutely. People took the exhibition as a real documentary of Carpentier. In collaboration with photographer Mario Porchetta we took photographs of the places he visited. I dressed with my own clothes “as him” in white with my back turned to the viewer contemplating these places. Viewers thought the person posing in white was Carpentier and felt quite unhappy that they could not see his face. Then I had shadow boxes made that contained artefacts associated with him and sheafs of notepaper with scribbles to look like his handwriting. It was as though I was channelling Carpentier and that came out in the exhibition; I had become him so to speak. IP: What are some of your other experiences? Have they been nearly as esoteric as channelling Carpentier? LS: When I go to a place I try to respond to it. If I go to India, for example, it is an encounter. I am trying to connect with the Barbadian culture, the key provided by Carpentier. Art has been my way of entering the space as well as the history which is very interesting.
IP: So what are some of your projects that are upcoming? LS: I am very busy. There are three productions I am designing for currently including carrying the exhibition on Carpentier to Cuba.I did the performance associated with it already. These are very intense times. I am involved with sharing my culture, my mature artistry with everyone. I have created a workshop for professional artists from across the world, “Cloud’s Nest Art Studio”, sharing my process. I do all the connections myself and I make the way for them to share their experiences with others. But I spoke about this before. I am encouraging Ayesha Gibson-Gill who curated the Museum exhibition to start the documentation of what has transpired in Barbados concerning my work-scenic design, installations, performances, in connection with other artists in the country and the general creativity that is going on. This has to be a conscious effort, a conscious decision. It is important to help people see what they are and what they are doing. IP: What are your reflections about Barbados given your interest in making us proactive in our own artistic and theatrical choices? LS: The geographical isolation of Barbados creates a particular type of island. The integration of England and Africa makes it particular too. You have English, African and now Hindu descendants all making an interesting combination. Then there is Christianity and African religion on the ground. The “plantation institution” is so powerful that it creates a flavour that is not found anywhere else. I believe Barbadian art is so well developed that culture could be promoted, especially theatre. I design for Peter Lewis and his technical theatre company/event management company , FieldTech and surmise that what we are doing is creating the idea of a ‘Caribbean aesthetic’ where we have the freedom to borrow from everywhere, but we use all Caribbean materials, ideas and feelings. For example, the replica of a ship you saw me create from the mahogany seed pods and sea grape leaves shaped to look like the ship’s sails. I’ve used the sumi-e painting technique, originally from Japan, for the backdrop painting of The Betrayal , another play by Professor Beckles, adapting it to suit our particular uses. What doesn’t work is following other cultures slavishly. There is a market for a Caribbean aesthetic but how are we going to sell it? Cubans do very well with that. I think each island has to come up with its own strategy, do its own work. IP: I know you have had quite a time sharing ideas but briefly before you go could you say something about visual dramaturgy. Explain what you are doing when you design a set. LS: The set is an installation art piece. It is happening by itself and it is contributing to the narrative as an entity in itself. It is a character like the human characters on stage. Because the audience is in place half an hour before the play begins the play must have a set, some designed space that can be decoded as they wait for the opening moments. Then there are surprises afforded by the lighting etc. that continue the narrative. The whole set is like an altar to the Orishas, an installation and the audience has to decode this information as the play progresses.
IP: One more question, what about the mesh draping you use, have used in several of your designs, what I call your signature, your trade mark? LS: The mesh creates walls of transparency especially when the light hits it. Most of the time it is creating two worlds in the play which merge or fade away depending on the light. It can become solid or vaporous and that creates the mystery in the mise-en-scene. And here in Barbados we do not have theatre spaces with shoulders where you can hide portions of the set or drops to cover changes, so it is a tech solution too in face of the limitations we have. Limitations are another way to be more creative. IP: What ideas, what words would you like us to take away from all of this? LS: My advice is you need, the artists need to invest in what they are doing. Investments must be made in the culture. IP: Thank you very much Leandro. It was wonderful talking to you. You have said much that we can learn from. LS: You are welcome. It was my pleasure. De nada.
Lucille ‘Icil’ Phillips is the holder of an MPhil. In Literatures in English, B.A. Hons in Literature and Sociology, a Diplomain Education and a Practitioner’s Certificate in Theatre Arts. She is a trained theatre director and a Popular Theatre facilitator. nannygrig@yahoo.com tel.nos 1 (246) 426 0667/ 238 5625
ICIL PHILLIPS BIOGRAPHY Lucille ‘Icil’ Phillips is the holder of an MPhil. In Literatures in English, B.A. Hons in Literature and Sociology, a Diplomain Education and a Practitioner’s Certificate in Theatre Arts. She is a trained theatre director and a Popular Theatre facilitator. In 2014 Ms. Phillips acted as a Part-time Lecturer at the University of the West Indies, Cave Hill, Barbados teaching Introduction to Theatre at the Errol Barrow Centre for Creative Imagination [EBCCI]. She has also acted as a Part-time Tutor for the Foundation course Caribbean Civilization at UWI, Cave Hill. She has also taught courses in Playwriting for the Stage for the Liberal Arts Division of the Barbados Community College and the National Cultural Foundation. For over 30 years Ms. Phillips taught Literature and Theatre Arts at the Combermere School and directed several plays for the Combermere Dramatic Society which won medals at NIFCA. Some of these were: New World A’Coming-A Tribute to Kamau Brathwaite(in collaboration with Gene Carson) Olive Senior’s Country of the One-Eye God-An Adaptation You Can’t Spell, You Can’t Excel- an improvised play In addition, Ms. Phillips has directed for the Combermere Dramatic Society plays for general audiences: The Swamp Dwellers-Wole Soyinka (which was also screened on CBCTV Channel 8) Malcouchon or Six in the Rain-Derek Walcott All O’ We is One-Improvised play Extracts from Echo in the Bone-Dennis Scott Extracts from Ti-jean and His Brothers-Derek Walcott Extracts from Tears in the Gayelle She also directed two plays for Stage One: The Crossroads Julius Caesar-An adaptation As a student of the Festival Centre for Creative Arts, UWI, St. Augustine, Trinidad Ms. Phillips directed Glenville Lovell’s When the Eagle Screams.
She has performed in: Jean Genet’s The Blacks in Jamaica, dir. Lloyd Reckord. Strindberg’s The Stronger in Barbados and Antigua, dir. Monica Procope. Peter Laurie’s The Confession in Barbados, St. Lucia and Montserrat, dir. Merle Niles. Praise Song for Bruce in Barbados and for Carifesta in Suriname 2003, dir. Harclyde Walcott. Olive Senior’s You T’ink I Mad, Miss? dir. Earl Warner. Hot Flashes dir. Henk Tjon. Ms. Phillips is a member of the International Association of Theatre Critics [IATC], and attended the Tenth International Theatre Festival in Santa Cruz, Bolivia in April 2013. She continues to write critical reviews of local plays for her Facebook page Theatre Eyes. *She has written several articles on theatre published in Critical Stages the online journal of IATC and Conjunto, a Cuban magazine on theatre in the Caribbean and Latin America. Her interest as a researcher is in the Caribbean aesthetic or the Caribbean mode of theatre performance. Ms. Phillips has written on the work of the late Barbadian director Earl Warner. Her unpublished thesis is entitled: Making the Language Sing: The Caribbean Aesthetic and Earl Warner’s Theatrical Vision in Four Plays 1991-1996. She writes reviews of plays in Barbados which have been printed in the Nation newspaper and she also publishes on her Facebook page Theatre Eyes. Along with Victor Edwards of Trinidad, she is a founding member of the Caribbean Secondary Schools’ Drama Festival. She is also a founding member of the Barbados Association of Drama Educators and is a Board member of the Earl Warner Trust (Barbados). Ms. Phillips serves as an External Examiner for the CSEC Theatre Arts Practical examinations and for CAPE Performing Arts Practical examinations. Ms. Phillips has received medals for her poetry and essays at NIFCA . She is also a published poet, short fiction writer and dramaturge.
Published works: --------------“Towards a Policy in Arts Education (Drama) in Barbados. ”Caribbean Quarterly Vol. 45, Nos. 2 &3 JuneSept. 1999. ---------------“Channelling Memories: A Reading of Kamau Brathwaite’s “Words Need Love Too.” Bim : Arts for the 21st Century. Vol. 4 No.1 November 2010-March 2011 -------------“‘Writing in the Dark’: Reflecting on the Work of the Theatre Critic.” Critical Stages IATC Web Journal, Issue No.9 February2014. ------------------“Encuentro de la Asociacion Internacional de Criticos Teatrales en Bolivia.” Conjunto –Revista de Teatro Latinoamericano 168. Cuba: Casa de las Americas, 2013. ---------------------“Desafiando ‘lo real maravilloso’: Leandro Soto en Barbados.” Conjuntos-Revista de Teatro Latinoamericano 173.Octubre-Diciembre 2014. Cuba: Casa de las Americas. Unpublished paper: -----------------“As Thin as Thread but Strong Enough to Walk On”: Untangling Panama from the Silver Web.” An examination of the play “Silver Web” by Glenville Lovell. XIII International Conference on Caribbean Literature-Panama in the Caribbean, the Caribbean in Panama. University of Panama, November 2013.
Carpentier https://goo.gl/photos/HNFbkeMhpMVN45WV6 https://goo.gl/photos/8HytqvXW4bqPauaH7
7 Tonalities of Blue
https://goo.gl/photos/1Um77N3eAbXgMtME7
Leandro Soto at Aweipo Gallery https://goo.gl/photos/gA4ySu6pFRAHJvSn6
LEANDRO SOTO
RIVENIS BLACK
http://rivenis.net/
http://diskordiacomic.blogspot.com/
The Personal is the Political. Or is it? – Thoughts on Sheena Rose’s ‘Baby Pink’ By Therese Hadchity (With kind permission of Arc Magazine and Therese Hadchity to republish.) http://arcthemagazine.com/arc/2016/12/the-personal-is-the-political-or-is-it-thoughts-on-sheena-roses-baby-pink/ Therese Hadchity reviews the exhibition ‘Baby Pink’ by Barbadian artist Sheena Rose, presented by the Institute for Gender and Development Studies at the University of the West Indies, Cave Hill Campus, Barbados in the gallery at the Errol Barrow Centre for Creative Imagination. This selection of recent works blurs distinctions between being personal or political, ambiguous or straightforward, leaving the context behind the work open for interpretation as Rose takes the viewer on an intriguing journey of self exploration. As she sits on the gallery-bench, fielding questions from an attentive audience, Sheena Rose is delivering a performance. Her voice projects, her poses are studied, and the simple black outfit draws attention to her straight pink hair. At the moment, she is “Baby Pink”, and the backdrop is her solo-show of that name, jointly hosted by the Institute for Gender and Development and the Errol Barrow Centre for Creative Imagination at UWI. This is the “talk”, where interested members of the public are invited to meet the artist. No longer the excited debutante, Rose now appears as the homecoming superstar, and can do so with a certain entitlement, for she has attained a “brand-recognition” – in the Caribbean and beyond – which few, if any, previous Barbadian artists have enjoyed. Rose’s interlocutor, Tonya Haynes, speaks approvingly about the exhibition and raises relevant and subtle questions about the work, its scope and inspiration. Many artists might eagerly embrace such broader inferences, but Rose often hesitates, turns the question around, or posits a simpler truth: the work, she says, is primarily about her return from studies in North Carolina, and about her challenges as a young woman, and as a contemporary artist living and working in Barbados. This absence of intellectual pretenses is characteristic of Rose, and her wide appeal can, I think, be partly ascribed to an apparent “straightforwardness” which, however, may not quite be what it seems; and which certainly is complicated by her ongoing and ever-evolving performance of being Sheena Rose. To get a sense of this constantly mutating persona, one need only take a look at the exhibition’s many and diverse selfportraits. It’s Hot presents Rose fanning herself on a background of geometric patterns, which offset the impression of oppressive heat with their cool blue/green palette. The majority of works, however, seem focused on emotional quandaries and personal insecurities. Monster, the most “painterly” piece in this collection, shows a forlorn, shorthaired Rose with unwieldy knots, or worms, coming out of her head, like inner demons spilling over.
In the photographic series ‘Choke-Up’, the artist appears as diva with wig, sunglasses, statement-ring and pink lipstick on a background of black glitter, fighting off an invisible hand grasping for her neck – hinting at the confining conditions under which Barbadian artists have to operate Not obviously resembling Rose, but perhaps an attempt at brutal self-examination, Pink Elephant depicts a hands-onhips female in bra, skirt and headscarf from a low, unflattering angle. In Waiting, the same character is seated in an expectant pose with one leg crossed over the other, but now with a black, tarry liquid running down her “thorny” head, leaving only the eyes exposed – perhaps capturing the scalding feeling of being let down, or stood-up. Love Snakes presents two Medusa-like figures (again with only their eyes exposed) completely wrapped up by coiled snakes and alluding to a personality divided by irreconcilable feelings of love and hate. During the artist’s talk, all of these works were loosely discussed under reference to Rose’s personal life and experience. Though not self-portraits exactly, two other pieces furthermore seem to play a supporting role in this overarching endeavor: Fans (yes, a rendition of two oscillating standing-fans) then functions as a complement to It’s hot, and Pest, showing two mosquitorackets closing in on a common target, recalls an ill-fated romance. It bears mention that the uninitiated viewer may not easily unpack this content, nor pick up that these works represent different aspects of one personality. Hairbrushes (showing just that) and the diptych titled Mixed Confusion may, in turn, register as more general commentaries on black femininity. Mixed Confusion features a group of faceless, female nightlife-figures tied together with a knotted red rope. Their heads and hair blend into a large area of glittering, but once again “tarry”, blackness, saturated with twinkling stars and eyes. Attached to the surface are a number of colourful plastic bugs, and atop the upper stretcher of this piece (and others) is a lineup of little toy-figures. According to the artist, these “cheesy” details are introduced to lighten up the work and render it more playful. With several stylistic and methodological leads laid out, the current exhibition at once seems to anticipate future directions and reach back to previous ones. A perceptive observer, Rose’s particular strength has always been an ability to magnify the minutiae of ordinary life and occasionally give it a slightly surreal edge – a quality which is here carried forward in works like Pink Elephant and Waiting. Other works, like Fans, Pest, It’s Hot and Mixed Confusion display an affinity with pop-art’s emblems of popular culture and the commonplace. Meanwhile, if the starting point of Rose’s artistic evolution was a form of shorthand visual narrative reflecting on everyday occurrences (sometimes articulated through animation), recent works have become increasingly conceptual, and that holds true for the present exhibition as well.
While the pieces included in ‘Baby Pink’ may touch on issues of gender, identity, contemporary black culture, the pursuit (or tyranny) of glamour and the jostle for visibility (hence the ubiquitous eyes!), it is not altogether clear what exactly is being said, nor how one “statement” relates to another. Whether, or rather how, the “personal is the political” in Rose’s case is, in other words, a ticklish question: do the dilemmas and insecurities alluded to in these works mainly relate to her experience as an artist, as a woman, or as a woman-artist, and how does “blackness” figure in relation to all of this? I am not sure it would be possible for Rose to make such clear distinctions, but the opacity of perspective – who is speaking – makes the extrapolation of social analysis or political intent difficult. While the direct placement of the large drawings on the white canvas, with little or no background or context, may signal an “unprocessed” directness and open up an unlimited range of interpretive possibilities, it curtails them as well by continually throwing us back to the denotative starting point. In any case, these considerations may miss the mark: for artists of Rose’s generation, the personal has become a reference point for which no apology is needed. In her case, the work and the artist have indeed become practically indistinguishable – her public presence (online and in person) and ever-changing appearance is thus an integral part of her artistic profile, and it is impossible to say when she is, or isn’t, “at work”. While the relationship between Rose and her work may be quite inscrutable, it can assume a paradoxical dimension – perhaps most obviously in the striking disparity between her public display of confidence and the insecurities expressed in works like these, but also at the level of conceptual rigor: Rose’s “essentialist” attempt to expose core features of Barbadian culture (say, its proclivity for ‘gossip’ and for ‘hushing’ things that are perceived as embarrassing) seems somewhat at odds with her deconstructive effort to undermine all assumptions pertaining to her own identity (“I may look like a dancehall girl,” she said at the artist’s talk, “but don’t put that on me.”) In the bigger scheme of things, Rose’s exceptional success is indicative of more far-reaching transitions in Caribbean art. To put this claim in context, it is necessary to make a brief detour to another exhibition, which is currently on display in Bridgetown, and which is representative of a different generation. Omowale Stewart’s ‘Art Speak’ is unlikely to draw the same level of buzz as ‘Baby Pink’. It is nevertheless quite productive – especially as the nation’s 50th anniversary seems to invite some stock-taking – to view the two exhibitions in relation to one another.[1] Though not quite a full-fledged retrospective, Stewart’s exhibition offers examples of his work from as far back as the early 1970s. Among these are a series of exquisite portraits in charcoal, watercolour, pen and ink. The only autobiographical clue in these works is the shift in the artist’s signature from “Allan Stewart” to “Omowale” some time in the 1970s, and the focus in these small, but really monumental pieces is notably not on the artist, but on the people around him.
Characteristic of their era, they speak to an emerging sense of confidence, empowerment and cultural identity, and what Omowale achieves here is an utterly convincing evocation of characters that are at once unique and nuanced individuals; stakeholders in a new Barbados, which implicitly is envisaged as unified-but-diverse. Right where one exhibition-segment ends and the other begins, we encounter one of Omowale’s most well-known works, Lest We Forget from 1978. Though it now seems a bit clichéd, the piece is a reminder of West Indian history, showing a procession of newly captured slaves, tied together with ropes and being marched away into the distance. One male turns his head and looks defiantly back, forcing the viewer into the role of witnesses, and conferring a sense of complicity. Yet the rest of the exhibition – generally paintings of a much more recent date – regrettably presents an artist prone to stereotypes and not above the objectification of women. The point I wish to make is that the occasional transformation of once committed champions – like Omowale – of a post-colonial Caribbean identity, to traders in facile and self-congratulatory formulas, has paved the way for a new school of thought on matters of representation and strategy. This transition registers, for example, in the difference between Omowale’s unmistakable focus on history and on an emerging, collective identity, and Rose’s apparent focus on individual experience. The difference between “unmistakable” and “apparent” is itself symptomatic of an evolution towards more indirect and relative expressions of “conviction”. Where the rope is the definitive symbol of slavery, colonialism and “profit” in Lest We Forget, its significance has become far more ambiguous in Mixed Confusion: we can’t be sure whether it gestures towards black history, sisterhood, a new kind of “enslavement” (by the desire for glamour, visibility etc.) or simply – as the title seems to suggest – towards a tangled confusion, involving all of the above. In the new school of thought, of which Rose is a product, this deliberate uncertainty is generally regarded as an escape from the reifiable expressions and patriarchal idiosyncrasies of artistic predecessors: ambiguity has become the default counter-hegemonic strategy in contemporary Caribbean art. Characteristically, I think the colour pink in the current exhibition’s title precisely plays on the idea of being neither red nor white, but something in between, and, in so far as it connotes childhood and immaturity, something that is still (and always) unfinished and evolving. It is a recurring feature of Rose’s works, that they elicit as many questions about our own dispositions as they do about hers. ‘Baby Pink’ thus prompts us to consider whether the work can be separated from the artist; whether the preoccupation with personal experience reflects a form of caution (a hesitation to generalize) or a narcissistic, neoliberal impulse; to what degree the work should make its frames of reference clear; whether strategic ambiguity altogether precludes misinterpretation, and, of course, what it really is we want art to “do”!
One area, in which many of these issues coalesce, is the often expressed perception (by Rose and others), that Barbados is central to her work. If the suggestion is of an obvious or visible centrality, I find this suggestion confounding – and particularly so in relation to ‘Baby Pink’. While issues of blackness, gender, romance, intense heat and small, confining art communities may be intrinsic to the Barbadian experience, they would be equally so in places like Ghana, Guyana and North Carolina – there certainly aren’t any unmistakably Barbadian references in this body of work. When Rose exhibits abroad, the danger lurking behind that perception is that she becomes the lens through which her work is understood as quintessentially Barbadian. To my mind, the centrality of Barbados to Rose’s work exists behind the scenes, in the conditions which have framed her trajectory and, among much else, made domestic recognition more likely, if it has first been won abroad. In any case, Rose’s “Bajan straightforwardness” may not be all that it seems. Having been offered opportunities that few Barbadian artists enjoy in a life-time at a very early stage of her career, Rose’s artistic and intellectual formation has taken place in the public spotlight. For many reasons, this may not be an enviable trajectory, but I think she has handled it, on the one hand, by developing a body of works in which she negotiates a vast amount of critical, social and personal expectations, and, on the other, by creating a protective shield through an ongoing “performance of self”, which not only serves to put some distance between her and us, but which also gives her license to develop and test ideas without definitive commitment; so that the title ‘Baby Pink’, for example, at once can invoke and deflect expectations of serious engagement. The more I looked at Rose’s large black drawings of standing fans, hairbrushes, mosquito rackets and a Pink Elephant, the more their stark and bold simplicity grew on me. Without melodrama or pretenses, but infused with an understated, dry humour, they seem to represent a visual and emotional condensation. Packed into them, and effecting a high degree of tension, is all the contextual information they seem to eliminate. To me, the exhibition’s force-field lies here. Their most unequivocal effect, however, is that of shutting you up. Incidentally, both shows are hosted by UWI, for “Art Speak” is mounted at the Clinical Skills Complex on the corner of Jemmotts Lane and River Road. Therese Hadchity Therese Hadchity (PhD) was the founder of the Zemicon Gallery in Bridgetown (2000-2010). She is a free-lance critic and curator and presently teaches in the visual arts department at the Barbados Community College. Her doctoral dissertation was on the emergence of a "postnationalist postmodernism" in Anglophone Caribbean art.
KRAIG YEARWOOD kraigyearwood@gmail.com
ONEKA SMALL oneka@coredesignsandconcepts.co m
ROSEMARY PARKINSON rosemaryparkinson2004@yahoo.com
ROSEMARY PARKINSON
HEIDI BERGER www.heidiberger.com Studio visits welcome +1 (246) 843 5296
SIAN PAMPELLONNE https://www.facebook.com/pages/Sian-Pampellonne-Artist/856268574414449
AMANDA TROUGHT
ERROL BREWSTER errolbrewster@gmail.com
SHEENA ROSE
www.sheenaroseart.com/
‘Annalee Davis Uses Art to Unearth and Interrogate’ By Jacqueline Bishop in Huffington Post
http://www.huffingtonpost.com/entry/annalee-davis-uses-art-to-unearth-and-interrogate_us_584ebe24e4b0151082221d7e
LILIAN STEN NICHOLSON
TANYA FOSTER
DAVID McCLEAN
FRED ODLE
CAROL CADOGAN
CAROL CADOGAN
JOHN WALCOTT
JOANNA WHITTAKER
HEATHER-DAWN SCOTT
kinrarasutherland@gmail.com
BARBARA PICKERING
VANITA COMMISSIONG
www.onthewallartgallery.com
CATHY CUMMINS
Another wonderful mural in Hastings Painted by Bethany Pile and Rosalie Chiara http://www.loopnewsbarbados.com/content/more-amazing-artwork-hitting-barbados-streets
PATRICIA BROWNE
The newest attraction at the Animal Flower Cave is the lovely statue of St. Lucy's gift to Barbados ' 50th Jubilee Celebration created by visual artist Laura Ward. This 8ft statue captures the beauty of Barbadian Women in shape, and vibrant colours. These colours represent the foliage found in this most Northerly Parish of natural beauty. This cement structure was made and crated by Laura Ward the owner of Earth and Fire Pottery Studio located in Connell Town St. Lucy. Mrs Ward had many supporters and some assistance since the commencement of her statue back in February 2016. Special thanks goes out to Mark Waterman Artist, the Community of Connell Town, Manuel Ward - Animal Flower Cave owner, the St. Lucy Parish Independence Committee, St. Lucy Parish Ambassadors, The Caribbean Brocasting Corporation and the Daily Nation for media coverage of the official Unveiling of Miss Lucy on Saturday December 3 2016.
R.I.P Hubert Brathwaite. Artist. HUBERT BRATHWAITE “To me art is my lifeblood. Other things come after that.” Born in 1930 and educated at Bay Street Primary, he developed an early interest in pursuing a career as an artist. Chosen in 1954 to participate in the ALCOA exhibition in New York the following year he was awarded a prize and two certificates. Deeply spiritual his work reflects everyday urban life. Perhaps his best known work is Independence Celebration 1966 which was chosen for the dust jacket of ‘Art in Barbados- What Kind of Mirror Image.’ Brydens Avenue, Brittons Hill, St Michael
Barbados Bu'n-Bu'n has arrived! This amazing book by Rosemary Parkinson is on island. Two hard cover coffee table books, with a sleeve that encloses both, 656 pages and 1400 plus photos filled with history, tradition, culture, stories and recipes from Barbados. Book Set Price (2 books): US$150 or Bds$300 plus shipping for those overseas. Payment via PayPal, Western Union or cash.
ROSEMARY PARKINSON + 1 246 436 5865 – + 1 246 264 7448 www.rosemary-parkinson.com www.facebook.com/BarbadosCulinaryJourney
Barbados Bu'n-Bu'n, a collector's item, has won 4 awards for Barbados – Best Photography, Best Design, Best Historical Recipes, Best Self-published Book – then against 5 of the best books in the world WON Best Self-Published Book In The World and honoured at the Frankfurt Book Fair 2015 with Best of the Best In The World by the Gourmand World Cookbook Awards 2015. Barbados Bu'n-Bu'n has been called "a national treasure" and is being used by our BTMI and BIDC as gifts for dignitaries. The book costs BDS$300 in Barbados, and is available at Cloister Bookstore, Relish Limegrove, Sandy Lane Golf Club, Cafe Coffee at Washington House, Barbados Golf Club (Durants), Holders Farmers Market (Sunday), Artsplash Gallery (Hastings), just to name a few. For wholesale enquiries (3 or more) call HILARY KNIGHT at 246 432-1169 OR MESSAGE ROSEMARY PARKINSON ON Facebook. BOOKS NOW AVAILABLE IN ENGLAND.
“Come with me. Experience pipes that stan’. Boards that jukk. Jars that are unripe monkeys. Frogs that whistle de tune of a band tucked and a goose on four legs that doan mess with a perky gutter. Hucksters and markets. Farmers and food. Secret recipes deep inside Miss Harriet Boyce and Mrs Jones…man dem gots a mobba-ton o’ tings gine on! Meet Miss Carnetta and she bush fuh medicine; and de pork dat is fat but does like to swan ‘roun a Bridgetown street while sugar an okra-mush hit de artsy-fartsy theatre in Christ Church wrapping up de gap, while reggae swarms ovah de bar hold up wid boisterous wild boars! Music and love. Leh muh show you how to sip on swank with sunsets and full moons but Lawd, as You is my Shepherd, help muh to mekk de people dem beware of donkeys of steel ‘cause Shaggy Bear gots Miss Sally in de pot and she wining an’ dancing to she own tune. Follow me closely when Crop Over done an ‘Kissmuhwillwill’ mount he rums in a shop at Sweet Bottom, happy as breadfruit in a pickle when truff be known. I gine show how a one an two muss dance cuz a cutter ent a cutter wid’out Cuzz, and how the taste of jam dat is jelly sweet cause de peppah hot! Buh wait…I cyan’t forget we gots a cake made with fish in a pot dat bucks. An’ salt baths fuh Sunduh pork too, caw Miss Clarke seh one should’ah nevah eat an forget always remembering an eyeful en a bellyful although, we does know she born a lickmout! So follow de adventure as I turn to history. Great houses and chattels. Bussa & Rachel. National pride. Fish that fly and one dat snaps on anudder called jack. Learn that coucou is not a bird but does eat nice wid a cat dat lives in de sea. Doan tell a soul buh I even teach ’bout lobsters wearing slippers, and tamarind with balls, an bitches black an sweet, men dat does drink beers in banks. Believe you me – BARBADOS BU'N-BU'N gine spill de proverbial beans.. caw I ent known fuh keeping no secrets.” Now as an E-BOOK: https://www.amazon.com/dp/B01MXVDSI7 https://www.amazon.com/dp/B01MQT867S https://www.amazon.com/dp/B01N0NZZIM https://www.amazon.com/dp/B01N6E056V
Photographer and writer Rosemary Parkinson has just released BARBADOS BU'N-BU'N ebooks on AMAZON. You can now view her wonderful images of Barbados and Bajans and read the stories anywhere you are in the world on your e readers. Links here https://www.amazon.com/dp/B01MXVDSI7 https://www.amazon.com/dp/B01MQT867S https://www.amazon.com/dp/B01N0NZZIM https://www.amazon.com/dp/B01N6E056V This 4-volumed book divided into the 11 parishes of the island, Barbados Bu'n-Bu'n, takes one on a culinary ride of this gem of the Caribbean. From history, culture and tradition to meeting the people from all walks of life; the book tells their stories, both fun and educational, accompanied by stunning photography and recipes.
ABOVE BARBADOS Have a look at the higher resolution image (and zoom around) at http://www.abovebarbados.com/sites/default/files/batts_rock_panorama.jpg Would you believe this is a reduced/resized image - the original is double the width/height! Above Barbados offer high-definition aerial photography and video, packages available from $500BDS. Contact Above Barbados today on 231-9583 to discuss your requirements and let us get those stunning shots from a new perspective! Like us on Facebook https://www.facebook.com/AboveBarbados Follow us on Twitter https://twitter.com/AboveBarbados Join us on Google+ https://plus.google.com/+AbovebarbadosPhotography
www.barbadosphotographicsociety.com
ROGER HANNANT rogerhannant45@gmail.com
VEE HARTLAND
ROLF TORSTEINSON
ERIC BELGRAVE
eric.belgrave@outlook.com
AUDREY BRYAN
PATRICK RICHARDSON
https://www.facebook.com/patrick.richardson.5070
JOHN GOODING
jgooding@caribsurf.com
ANIYA LEGNARO
www.lifebyaniya.com
MARK HUSBANDS
RYAN RODRIGUEZ
J E MOORE https://www.facebook.com/A-Touch-of-Nature-by-JE-Moore-1588152978063002/
BERNARD WALLACE POOLER
bwpooler@gmail.com
CORRIE SCOTT
corriescott@gmail.com
www.corriescott.net
NIAZ DOKRAT
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DON JORDAN donjordan.bb@live.com
HIMAL REECE
RAYMOND MAUGHAN RAYMOND MAUGHAN
WINSTON EDGHILL
wpedghill@sunbeach.net
DANIELLE van DREUNEN
WILLIAM CUMMINS
WILLIAM ABBOTT
ADRIAN RICHARDS
anrichards@gmail.com
JARYD NILES-MORRIS
HASANI McCLEAN
ANTON BEST
JULIAN BERESFORD
ANDRE WILLIAMS r.andre.williams@gmail.com
FRANZ PHILLIPS http://www.franzphillips.com/
HUGH WALKER
‘Images by Hugh’
A Selection of Premium Fine Art Prints on Metal, Canvas, Acrylic, Glass & Fine Art Papers http://1-hugh-walker.artistwebsites.com/index.html Hughwalk@gmail.com
CLEMENT FARIA
clement.faria@gmail.com
GAVIN HINKSON ghinkson@hotmail.com
www.facebook.com/sunsetislephotography
JENNY GONSALVES mammy_apple@hotmail.com
MIKE EVANS https://me-photos.smugmug.com https://www.facebook.com/profile.php?id=624146708
KATARINA KOVAKS
JASON HOWARD Info@chefjasonhoward.com
ANDRE DONAWA http://www.andredonawaphotography.com
TIYI BY DESIGN www.tiyibydesign.com
ICIL PHILLIPS’ Theatre Eyes Very up to date on both local theatre and overseas happenings. Link here https://www.facebook.com/groups/354529934596080/964541386928262/
SUSAN MAINS www.susanmains.com
ASHER MAINS www.ashermains.com
We do murals for, schools, churches, nurseries, homes and business places also. Please call 289-4074 for quotes and free consultations.
THE FESTIVAL ART GALLERY At Hastings Farmers Market, Artsplash, Hastings, Ch Ch
EVERY Saturday The Festival Art Gallery is a mobile art gallery showing in excess of 50 local Barbadian artists who are painters, ceramic artists, sculptors and photographers. Bringing Art To The People kathymyearwood@gmail.c om
NIKOLAS SEALY nsdesigns74@gmail.com www.facebook.com/pages/NS-Desig ns/446661088688420?ref=hl
FINE ART PORTRAITS & DRAWINGS BY KHARY DARBY
kharydarby@gmail.com 572-0579 or 282-3302 https://www.facebook.com/kharydarbyartist
'The Coral Stone Village Meeting' by Philip King Each piece which has been positioned and topped with other pieces of coral stone. In rows. The front row close to the sea appear to be 'the elders' as they have a little more space between themselves and the 'people'. Created by an Philip King who lives up by Cave Hill. who comes during the week to Batts Rock Bay to build these 'meetings' of coral. It is ever evolving as some are vandalised or the sea knocks them down.
ON THE WALL ART GALLERY On The Wall Gallery at Champers A charming gallery and throughout the restaurant at Champers Restaurant, located on Accra Beach, Rockley, Christ Church has been fully renovated. Monday - Friday Noon-4pm and 7pm-11pm . Please call for weekend hours. 246 234 9145 Champers gallery is accessible during Restaurant hours. Actual gallery operations are 12noon to 4pm and 7 pm to 11 pm all year November to April On The Wall Gallery At Earthworks. Earthwork continues to be the mainstay of our operations as we continue to add new lines to our already eclectic mix of hand made crafts, jewellery and fine art. Monday - Friday 9am - 5pm Saturday 9am - 1pm Closed Sunday Vanita Comissiong
tel 246 234 9145
www.onthewallartgallery.com
vanitacom@caribsurf.com
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. marilda@bernmar.com www.frangipani-art.com
THE FRAME & ART COMPANY Millhouse, Canewood • St. Michael, BB 11005 • Phone (246) 271-6509 • Cell (246) 266-9432
In an effort to cultivate discussions about the arts starting at a young age while engaging with the community, Fresh Milk will implement an outreach programme using the resources available in The Colleen Lewis Reading Room (CLRR). One of the many challenges faced by young creatives is, despite their artistic gifts, they often struggle when it comes to speaking and writing comprehensively about their work. This is a skill that would benefit immensely from reading, whether specifically arts oriented texts or even well written fiction; gaining an appreciation for articulate material is imperative to mastering one’s own practice. Fresh Milk proposes to be the go-to point for refining these skills, beginning at CSEC level when children are expected to take their research and written abilities to a higher standard, all the way up to providing MA or PhD candidates with a deep pool of knowledge and unique material which they can draw upon. The Fresh Milk team will work with secondary school teachers in this area to construct a programme which will bring the students to Fresh Milk to show them the studio and reading room, letting them know that there is an environment available which can cater to their academic and creative needs. To keep up to date with our other activities, visit: http://www.freshmilkbarbados.com and like our Facebook page at: http://www.facebook.com/FreshMilkBarbados
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 gallery@thecrane.com.
Tides Gallery Tides Restaurant Balmore House, Holetown, St. James Tel : (246) 432-2084 Email: tidesart@caribsurf.com
Cell (246)230-1968
BAC Gallery Schedule 2017 (Subject to change. Please call the Gallery to confirm) All Work must be at the gallery 3 days before opening Jan 02 - Jan 21 Group show Jan 23 - Feb 11 Group show Feb 13 - Feb 25 Group show Feb 27 - March 18 Group show Mar 19 - April 08 Group Show April 09 - April 29 Rural Barbados group show May 01 - May 13 Rental May 15 - June 03 Our Heritage [group show] July 04 - July 15 Rental July 17 - August 04 Guest Curator Show Aug 07 - August 19 Available for Rent Aug 21 - Sep 09 One Love (President invites show) Sept 11 - Sep 23 Available for Rent Sept 25 - Oct 07 Little Gems Oct 09 - Oct 28 Dr.Raymond Maughan rental Oct 30 - Dec 02 Independence Group Show Dec 04 - Dec 30 Christmas Group Show The Barbados Arts Council Gallery is available to rent at cost of $150.00 per week. (Non Members $300.00) Please apply to the President of the BAC Barbados Arts Council Gallery, # 2 Pelican Craft Village, Bridgetown, Barbados.
BARBADOS ARTS COUNCIL BAC Gallery, Pelican Craft Centre, Bridgetown (246) 426 4385 thebarbadosartscouncilgallery@gmail.com
BLACK ART STUDIOS Durants Village, Holder's Hill St. James www.facebook.com/oneka.small
Purple Palm is a local business supplying homes and businesses with the highest quality Print and Mirror furnishings. Using the artwork of many local artists in Barbados and the Caribbean plus work from around the world. We have been supplying to the hotel and villa industry for ten years, including prestigious clients such as Sandy Lane, Coral Reef, The Crane Beach Resort, Sugar Cane Club and Sandridge among others. We have also supplied numerous private villas, and work closely with local interior designers. Being directly affiliated with a 40,000 sq ft framing factory our prices are very competitive. Appointments to view our gallery at Rockley Resort can be made through Paul Hoad or Karen McGuire. 246-2332173 paulhoad@caribsurf.com
THE ARTSPLASH CENTRE Paint * Draw * Create & Have Fun! artsplashbarbados@gmail.com www.artsplashbarbados.com
To boldly and brilliantly pursue the adventure in everything artistic and to be a vital and uncommon cultural force in Barbados. www.artsetcbarbados.com
FRANK COLLYMORE HALL AND GRAND SALLE www.fch.org.bb
A monthly programme is produced of all lectures, music and theatre events . To receive it by email or post please email fchmail.com or tel 436 9083 or 84
FRANK COLLYMORE HALL
Celebrate Culture... Celebrate Life! The Frank Collymore Hall is the premier venue for cultural performances, conferences, lectures and more, in Barbados. The multi-purpose facilities are perfect for your dance, drama, music or exhibitions. The Hall comes fully equipped with State of the art equipment, 500 seating capacity, High-quality acoustics, Multiuse Grande Salle 9-foot Orchestral Steinway Concert Grand piano FRAN WICKHAM MANAGER | Tom Adams Financial Centre| Spry Street | Bridgetown | BB 11126 246-436-9083 francine.wickham-jacobs@centralbank.org.bb
Errol Barrow Centre for Creative Imagination University of the West Indies Theatre. Art. Workshops. Poetry. Film. Dance. Lectures. For further information, contact De Carla Applewhaite at 417-4776 decarla.applewhaite@cavehill.uwi.edu https://www.facebook.com/EBCCIUWI www.cavehill.uwi.edu/ebcci
THE LEAGUE OF EXTRAORDINARY POETS www.lxpbarbados.org
MISSION The Mission of the League of Extraordinary Poets (LXP) is threefold; 1. To nurture those involved in the arts, with a special emphasis on poets and spoken word artists; 2. To edutain the public through exposure to our art, and 3. To use the voices of the artists to bring awareness to, and to actively work towards addressing issues of importance in our society. VISION The LXP was founded on the principle that no art form exists in a vacuum. It is inexplicably tied to society, culture and time in which it is created, and that artists can improve their skills, and inspire one another when they operate in a close knit community of other like-minded artists, committed to positive feedback and professionalism in pursuing their art to its highest and best potential. The LXP sees spoken word and other forms of poetry and lyrical commentary as art forms which are not only able to express the personal vision, emotions and stories of the individual artist, but also as vehicles to speak to social issues not addressed in other forums and to educate the public in the hopes of bringing positive change to the society in which we live.
Beyond Publishing Caribbean is a group of artists, illustrators, graphic novels,graphic artists from Barbados and you can contact them or liking their page by click on the link, Matthew Clarke Tristan Roach Rivenis Black Julian Moseley https://www.facebook.com/pages/Beyond-Publishing-Caribbean/218731298152892?ref=ts&fref=ts
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 rodney-ifill@ncf.bb www.ncf.bb Annette Nias Cultural Officer - Film and Photography 424-0909 Ext 238 annette-nias@ncf.bb
QUEEN’S PARK GALLERY
Queen's Park Gallery is temporarily(?) located at Pelican Craft Centre #12 on Harbour Rd, Bridgetown
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 AA FRAMING & DECORATION. #4, 1st Avenue Belleville, St. Michael, Tel: (1-246)-435-0513 Fax: (1-246)-426-6004 | E-mail: aaframing@caribsurf.com www.aaframingartonglass.com FRAMING STUDIO At the Best of Barbados Head Office, Welches Plantation, H’way 2A421-6900 ext 29 THE FRAME & ART COMPANY Millhouse, Canewood • St. Michael, BB 11005 • Phone (246) 271-6509 • Cell (246) 266-9432 ART SUPPLIES THE ART HUB ( 2 locations) 1. James Forte Building Hincks Street Bridgetown, Tel: 436 2950 cell 231 6847 2. Sunset Crest # 163 Amaryllis Row,Sunset Crest, St. James. THE ART DEN
421 1019
LAURIE DASH, Bay Street, Bridgetown.
THE NATIONAL ART GALLERY COMMITTEE
Visit www.nagc.bb - website for the National Art Gallery Committee in Barbados for NEWS on current happenings. The site includes ArtistNet, the database of Barbadian visual artists; a click on ‘Artists’ will take you there. Visual artists are invited to post their profile and images on ArtistNet. Artists already on ArtistNet are reminded to send in their profile updates and new images. ArtistNet is a FREE NAGC service for artists. For further information contact the NAGC at +1 (246) 310 2700 or e-mail contact@nagc.bb
BARBADOS MUSEUM AND HISTORICAL SOCIETY www.barbmuse.org.bb
BARBADOS MUSEUM AND HISTORICAL SOCIETY SHOP www.barbmuse.org.bb
ISLAND FURNITURE LIMITED www.islandfurnitureltd.com
RAMELTON ESTATE A place to create or just to be www.rameltondominica.net
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D ARTS LIME - BY D ARTISTS, 4 THE ARTISTS & ABOUT D ARTS! Come share your work be it physical pieces or performance pieces, from fashion to poetry to music to artwork. We host the lime EVERY LAST SUNDAY of the month at Jago's Bar and Grill, located in Chapel Gap #1, Paynes Bay St. James. Feel free to sell your art work as well. For more information, like D ARTS LIME on Facebook. www.facebook.com/chameleon.arts.lime Admission is FREE. Please tell a friend! Join us as weSupport Creative Growth in Barbados and Beyond chameleonartsbarbados@gmail.com
eat. drink. play
www.scarletbarbados.com +1 (246) 432 3663 scarlet@caribsurf.com
The quintessential guide to contemporary Caribbean chic. Caribbean travel, homes, cuisine, and people.
www.macomag.com
SCAN ME
Published by Corrie Scott Barbados, West Indies www.corriescott.net