March 2017 visual arts magazine barbados by Corrie Scott

BARBADOS ARTS EVENTS

MARCH 2017

Cover Art By William Abbott

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. Letâ&#x20AC;&#x2122;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

Hedy Klineman ' A Barbados Retrospective Art & Spirit' Opening night March 25th 5pm â&#x20AC;&#x201C; 8pm with guest speakers: Adrian Elcock and Teshia Hinds exhibition runs through April 20th . 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

MARCH WORKSHOPS with Tracey Williams Golden Art Educator (GAEP). LIQUID WORKSHOP. Utilising techniques of marbling, washes, blooms and flows. Cost for two evenings $240Bds Mon March 27th 6pm- 9pm Tues March 29th 6pm-9pm MIXED MEDIA WORKSHOP Gelli plate printing with Open Acrylics. Learn how to use your prints in a collage along with Golden Grounds, fluid washes, hand made papers and stencils to create beautiful works of art. Wed March 29th 10am-2pm or 5.30pm-9.30pm Cost $150Bds Tel (246) 436 2950 (w), 435-0736 (h) or (246) 231 6847/46 (m) #28, Glen Acres, Ellerton, St George

"AE" Arthur & Ewan Atkinson Opening reception Wednesday February 15th, 6.30pm Morningside Gallery, Barbados Community College Exhibition ends March 3rd Monday - Friday 11am - 6pm. Saturday 1pm - 4pm. NOTE: Exhibition contains mature content ewan.atkinson@bcc.edu.bb allison.thompson@bcc.edu.bb morningsidegallery@bcc.edu.bb Tel: 426-2858, ext.5262

ARTHUR ATKINSON

AE EXHIBITION BY ARTHUR AND EWAN ATKINSON - PART I The Punch creative Arena at the Morningside campus of the Barbados Community College is hosting an exhibition of works the result of ten yearsâ&#x20AC;&#x2122; compilation by father and son, Arthur and Ewan Atkinson. Entitled AE, the work runs the entire gamut -from photo-realism, the forte of Atkinson pere, to surrealistic expression from Atkinson fils. Somehow though the two artists are linked in their expression especially where their themes are concerned. Each seems to be exploring the peculiarities of life in the neighbourhood- a concept Ewan develops but which Arthur hints at subtly. Together they seem to represent two sides of a lived experience-the older Atkinson, more mellow and less selfconscious whereas the son Ewan upturns conceptions of the world he inherited to question unconsciousness, placidity and the acceptance of things as they are.

Arthur Atkinson Self Portrait

Y- Arthur Atkinson's enigmatic title

Arthur, influenced by his years as a graphic designer, gives us twenty-one images drawn from his life daring to show us what he loves the best: Barbados, its land and sea scapes; the painters he knew, worked with and admired, highly imaginative other worlds, and the confectionery and fruit of the island as accompaniment. While Atkinson pere seems to eschew discussion on how he arrived at the works on display, the paintings speak for him and so from the well hung canvases we get a sense of his concerns about life in his country. For instance, Y which is my favourite, after The Life and Times of Ornella Workman, appears to be a statement about the environment and its destruction at the hands of humankind. The objects in this still life are set out carefully to make us see the offending detritus of local beaches that in turn harms the sea and the life in it. He places a a broken y-shaped stick in the foreground, as ironic comment on the situation he has posed for us. We will have to ask ourselves why this situation has been allowed to take centre stage. Why the remains from beaches spoilt by pollution can become so prominent. So while the beach and sea in the background appear as beautiful images of what we desire we are reminded that empty plastic bottles, styrofoam, fraying rope, cast off floats from fishing nets, the plastic bucket, light bulbs, the ubiquitous plastic fork and a coconut sprouting in spite of everything, are the fall-out from neglect of our immediate surroundings, our seas and beaches, and our planet.

This theme of decay and loss of a more inspiring time is continued in the two pieces reflecting on Harrismith. Atkinson says he paints carefully posed still life using photographs which he then renders in photoshop before committing all his ideas to the canvas. In the Harrismith series we get a sense of a time of grandeur when the place flourished and represented an ideal for visitors and locals. There are emblems of that grandeur expressed in the objects on display- the mahogany plant stand holding decanter, willow pattern jug, demi john, frilly ornament, a carelessly tossed red napkin, the falling table cloth and the sensuously poised lily in the foreground. Underneath this well constructed image Atkinson presents the well illumined rubble and broken concrete pavers of the hotel, its mouldering walls testament to a time that was. The storm lantern standing alone suggests the descent to the lighting of the poor or tragedy in contrast with the glorious remnants of a former time. The portraits of the artists-Goldie Speiler, Karl Broodhagen, Alison Chapman-Andrews, Ras Ishi and Ras Akyem as well as himself, show us Arthur the portrait painter. Each one is refreshingly rendered. Each artist is speaking to us through the tilt of face, brightness of eye, the expressive smile, or the mouth open in a form of conversation. Their intensity and the unique feeling present in each gives us an exciting spectacle. These icons are some of the contributors, like Atkinson pere, who counts himself amongst them, to the life and times of his Barbados. A Day at Harrismith II

The Planet that Wasn’t

The unusual spectral The Planet that Wasn’t almost steals the show. Atkinson takes discarded styrofoam packaging which he uses as a display cabinet and places found objects from his large collection that are both natural or man-made and intersperses them with shining plastic bags or glass bottles filled with seeds, water, air and represents them as the specimens of a past life on a planet as bizarre as ours. Atkinson is alert to the mystery this Planet reveals and so the objects are placed carelessly in the cubbies, the collector’s whim and fancy caught as a form of strangeness that the ghostly white of the painting underscores. And the white lilies, like the flowers, bits of sprouting plants and seeds in some of the other work, suggest a womanly presence, something that was caring and cared for above and beyond the haphazard collection. All of the pieces that recollect the childhood and grown up pleasure of eating local fruit in season and the confectionery of the tray sellers children delight in at school, are painted with stunning accuracy. We can taste the broken open bits of pomegranate, the crumbling sugar apple, the dunks, tamarinds and sugar, experience the nuttiness of the pounded almonds. Atkinson ‘s love for these things is very evident. All have been tasted and enjoyed by someone either the painter or the absent persona. We the viewers are drawn in to experience these things from childhood once again.

If an artistâ&#x20AC;&#x2122;s exhibition can have a showstopper then The Life and Times of Ornella Workman can be considered such. This is a concept Arthur returns to, to further show the life and times that literally produced his wifeâ&#x20AC;&#x2122;s aunt, now deceased. Using artefacts from her life, Atkinson resorts to a collage- painting, imposed objects and a variety of textures to create a triptych of Ornellaâ&#x20AC;&#x2122;s life. We get a sense of her era with its straitlaced politeness and its conforming ways but underneath the artist uncovers her personal understanding and shows us her techniques for living above and beyond its strictures. She is a manager of her own affairs seen in the emblem of home ownership in the left panel. Her interest in everything is shown in the wide reach of her reading material.

Ornella is placed centre stage in a gilded frame while her life fans out in the second and third panels. Atkinson extends her portrait to take in all the areas of her life that are of interest to the painter and to us. She spans the era of the dining room wagon made of mahogany with its ornate glassware, the chiming clock, the delicately placed ornaments, and the lamps that suggest a time when there was no affordable electricity supply. There are kitchen utensils of enamel, a hold over from the plantation era and the broken bits of fretwork part of the carpenter’s craftsmanship of a bygone era. We see sheaves of letters-testament to her literacy in an era when women were headed to the pond grass pile. This is made even more significant with the repetition of reading material collected over the years used as a framing devicenewspapers, tracts, programmes from church, old school books, photographs of cricketing heroes, members of the House of Assembly, tidbits about WWII, forms of travel, all the things that would have been part of her life in an era when Barbados moved from placid colonial outpost to nationalist hotbed to independent country. This work captures well the era that produced the subject. It is an historical document as well as an artistic representation of a past time. Icil Phillips nannygrig@yahoo.com

Lucille ‘Icil’ Phillips is the holder of an MPhil. In Literatures in English, B.A. Hons in Literature and Sociology, a Diploma-in Education and a Practitioner’s Certificate in Theatre Arts. Ms. Phillips is a member of the International Association of Theatre Critics (IATC). 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. 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.

EWAN ATKINSON

WILLIAM ST JAMES CUMMINS

PUNCTUM Abstract Photographs by

William St.James Cummins February 10 â&#x20AC;&#x201C; March 11, 2017 At The Frame & Art Co., Millhouse Complex, St.Michael, Barbados

Further info call 271-6509, 230-5509 or Email - info@frameartco.com

ANDREW HEWKIN M.A. An exhibition of watercolours from the island. 5th February–24th March 2017. Holders House St James Barbados. Gallery: 432 6385/1823 Andrew (20 Jan–20 March): (246) 422 0204 Andrew Cell Phone +44 7961144179 andrewhewkin@hotmail.com www.andrewhewkin.com

Andrew Hewkin. An exhibition of watercolours from the island. 5th February–24th March 2017. Holders House St James Barbados. This will be the sixth one-man exhibition that Andrew Hewkin has held in Barbados. Previous exhibitions have featured mainly oil paintings that are of, or have been influenced by, the West Indies and in particular Barbados, an island he has come to appreciate over the last forty years for its visual beauty, special natural light and diverse history. Following his large exhibition at St Peter’s Bay in 2013/14 which comprised forty-five paintings from his collection, this show is an extensive display of his new watercolours for the first time. Andrew’s vibrant sketches reflect themes and subjects seen in his large oils that may be familiar to aficionados of his work and to many here on the island. ‘‘I have decided to show a collection of watercolours entitled ‘POSTCARDS FROM BARBADOS’. This work was born out of my earlier travels sailing throughout the Indonesian archipelago in 2011/12 when I produced a selection of watercolour sketches based around the concept of ‘the postcard’. Postcards are a very old form of communication and were probably the first visual means that travellers had to portray the location they were visiting and share it with their loved ones back home – a forerunner to the social media of today – but a far more evocative and personal vehicle than the iPhone, Facebook or Instagram. The fact that the picture postcard travelled ‘itself’ to reach its distant location made it even more of an exciting prospect as a concept to me. The intrepid journey by plane and liner over continents and oceans of the adventurers carefully chosen image, bearing the decorative beauty of exotic stamps and postmarks, could only have enhanced its long-awaited arrival. I found all these elements incredibly stimulating and inspiring, so I set out to emulate the expression behind this long-lost art form and project it to a higher plane – as ‘fine art‘. I wanted to record events that would otherwise fade away and to regenerate the thrill and passion for distant travel. I think my ‘postcard’ watercolours refresh the essence of the excitement one experiences by relaying thoughts in a form that is tangible, memorable and above all, appreciated for its uniqueness and aesthetic quality.’’ Andrew Hewkin. 2016. There will be over 30 watercolours. All images are originals and will not be reproduced in any other form. Andrew Hewkin M.A., Holders House, Holders Hill, St James, Barbados. Gallery: 432 6385/1823 Andrew (20 Jan–20 March): (246)-422-0204 Andrew Cell Phone +44 7961144179 andrewhewkin@hotmail.com www.andrewhewkin.com

ALISON CHAPMAN-ANDREWS

'The Figure' Alison Chapman Andrews Retrospective with guest artist Ras Ilix Hartmann at Morningside Gallery Opening reception Wed Mar 15th, 6.30pm Hotseat Artist Talk Wed Marc 22nd, 6.30pm Mon - Fri 11am - 6pm. Sat 1pm - 4pm Exhibition ends March 31st

THE FIGURE: AN ALISON CHAPMAN-ANDREWS RETROSPECTIVE) When I was first an art student, one learnt the basics of drawing in the life room. The model (usually female) posed surrounded by electric heaters, then the students, drawing at easels or sitting on "donkeys". The tutor drew corrections and explanations on your drawing. So one learnt to see, to notice, by studying the figure. When not working from “life" we drew the skeleton or muscles from plaster casts of flayed figures, long consigned to storerooms. It wasn’t just learning how the figure was articulated, but how to see form, light and volume and how to draw contour lines so they showed these things. A most valuable lesson was to make ones thoughts concrete. Even when I went to the Royal College of Art, in 1963 just after pop art had exploded on the London scene, ten life paintings per year were still compulsory. But after the first year this was ignored and the lovely airy life rooms, linked by a spiral staircase, were gradually emptied of students. Apart from one or two people like me, who loved lonely painting……This academic background in drawing basics was indispensable in the work I have done since. The very act of drawing, somehow opened one’s eyes to the possibility in the Barbadian landscape. So it is mainly in landscape and flora that I have worked. This preparatory drawing is often hidden in about 30 sketchbooks (another student legacy). However, every few years I have produced a figure painting, and it is these that make up this exhibition, plus two drawings from student days (an old and young model) and the only painting not lost. The 2 nude mono types show young and old again, both beautiful, differently. In years since, each figure study has been a test of my ability. They were a welcome contrast to my landscape painting. Each one is often also a reminder of friends; relationships; fellow artists; my collection; my life. They are personal glimpses, every day or genre painting. A reminder of friends is seen in the portrait of Roberta: she is pictured on her verandah with things lovingly collected from the beach, interesting stones, bleached cow bones, sea fan. No dogs are seen - only the remains in a bowl, being eaten by the waiting blackbirds.” ‘Imitation of Birds, a Portrait of Stanley “is also a collection picture, modelled on 18th century predecessors, where noble men, showed off their collections, or artists showed their inventory for buyers. Many of the items in the picture are birds. Stanley had painted the two blackbird paintings on the left. The centre of my picture is deliberately empty /quiet in contrast to the guitar music and the sound of birds. This image has been reproduced twice once as the frontispiece of Rupert Roopnarine’s Primacy of the Eye. The art of Stanley Greaves and again in Cummins’, Thompson and Whittle’s Art in Barbados, What Kind of Mirror Image.

For years I thought working from photographs was unnecessary for me, but now digital photography and printing has become so easy and replaced some sketching. In 20 15 I produced a portrait show where photographs were used extensively. (Many pieces were borrowed and are shown here.) In each it is used differently. In the Ishi-portrait it was by using photocopies and transfers, coupled with the techniques he appeared to use, seen in a catalogue of large paintings. I learnt a lot. In the Akyem portrait although the pose and hair were from his own photo, I owned the painting shown behind and spent days trying to understand the images and how to copy his love of paint and make it all appear spontaneous. The Ilix progressed from a free loose idea, some gold and the burnt heads remain. Itâ&#x20AC;&#x2122;s now based on many photos taken by me as he carved, and has become became a realistic studyâ&#x20AC;Śâ&#x20AC;ŚThe figure paintings, from to student days onward, are presented here together for the first time giving the viewer and myself a chance to evaluate them. Alison Chapman-Andrews

DEREK WENT

MAUREEN TRACEY

Photography by Andre Williams

MAUREEN TRACEY

Photography by Andre Williams

MAUREEN TRACEY

Photography by Andre Williams

MAUREEN TRACEY

Photography by Andre Williams

MAUREEN TRACEY

Photography by Andre Williams

MAUREEN TRACEY

Photography by Andre Williams

MAUREEN TRACEY

CHRISTINE FARMER

Photography by Andre Williams

CHRISTINE FARMER Photography by Andre Williams

CHRISTINE FARMER

Photography by Andre Williams

CHRISTINE FARMER

Photography by Andre Williams

CHRISTINE FARMER

Photography by Andre Williams

CHRISTINE FARMER

Photography by Andre Williams

CHRISTINE FARMER

Photography by Andre Williams

CHRISTINE FARMER

Photography by Andre Williams

www.barbadosphotographicsociety.com

YISRA EL

JARYD NILES MORRIS

ANDRE WILLIAMS r.andre.williams@gmail.com

www.andrewilliams.co

ANIYA LEGNARO

www.lifebyaniya.com

LAURA GARANI

ROSEMARY PARKINSON

RAYMOND MAUGHAN RAYMOND MAUGHAN

JOHN ROWLEY

MIKE EVANS https://me-photos.smugmug.com https://www.facebook.com/profile.php?id=624146708

MARIO PORCHETTA

KATALINA KOVAKS

JULIAN BERESFORD

ANCEL DANIEL

BERNARD WALLACE POOLER bwpooler@gmail.com

PATRICK RICHARDSON https://www.facebook.com/patrick.richardson.5070

JOHN GOODING

jgooding@caribsurf.com

ROSEMARY PARKINSON

CARLA HINDS

JOHN GOODING

CHERYL HUTCHINSON

HIMAL REECE

CORRIE SCOTT corriescott@gmail.com www.corriescott.net

VEE HARTLAND

NIAZ DOKRAT

www.facebook.com/PhotosByNiaz

JENNY GONSALVES mammy_apple@hotmail.com

ERIC BELGRAVE

eric.belgrave@outlook.com

ANDRE DONAWA www.andredonawaphotography.com

LESLIE ST JOHN

RUPERT DA SILVA

RYAN RODRIGUEZ

DON JORDAN

donjordan.bb@live.com

HASANI McCLEAN

https://www.facebook.com/Hasaniphotos

WILLIAM ABBOTT

ROGER HANNANT rogerhannant45@gmail.com

AKIRA JOSEPH

RUSSELL WATSON

FRANZ PHILLIPS http://www.franzphillips.com/

CLEMENT FARIA clement.faria@gmail.com

HUGH WALKER http://1-hugh-walker.artistwebsites.com/index.html

Hughwalk@gmail.com

http://www.blurb.com/b/7753331-the-absence-of-colour

GAVIN HINKSON ghinkson@hotmail.com www.facebook.com/sunsetislephotography

FELIX KERR

J E MOORE https://www.facebook.com/A-Touch-of-Nature-by-JE-Moore-1588152978063002/

JASON HOWARD Info@chefjasonhoward.com

ADRIAN RICHARDS anrichards@gmail.com

WINSTON EDGHILL wpedghill@sunbeach.net

OZZY OSBORNE

7th Annual CaFA Fair Barbados Opens Wednesday, March 8, 2017, 6-9 pm Celebrating the excellence of the Renowned Artist, Designer and CoFounder of the Dwyer Cultural Center, Dr. Ademola Olugebefola. Special Guest Appearance by the fabulous Soyemi Sisters Presenting over 45 of the Caribbean's Finest Artists Representing the nations of Antigua, Barbados, Cuba, Dominica, Dominican Republic, Grenada, Guyana, Haiti, Honduras, Jamaica, Martinique, Panama, Trinidad & Tobago. http://www.cafafair.com

Maurice Forde's Debut Art Exhibition at Drift Art Gallery & Lounge Opening reception Sat Feb 25th 6.30pm Exhibition ends April 8th. Drift, Holetown daily 5pm-midnight. 432 2808

MAURICE FORDE

QUEEN’S PARK GALLERY AT PELICAN presents “ANDREA WELLS JEWELLERY" Sunday February 12th - March 25th This exhibition is inspired by her walks along the coast of Barbados collecting china shards and sea washed glass. This fascination started when she was a child and was no doubt enhanced by living and studying in Italy during the Mid 80's. Each fragment is unique and she fashions them into elegant and memorable neck pieces bracelets, rings and earrings.

Queen’s Park Gallery, Pelican Village, Bridgetown, St Michael Tuesday to Saturday 9am - 4.30pm 427-2345 and 429-3117

ANDREA WELLS

FIELDING BABB

Photography Raymond Maughan

FIELDING BABB

FIELDING BABB EULOGY Neville Legall When the history of the Barbados Arts Council is written the name Fielding Babb must be inscribed in bold golden letters, reserved for those whose contributions were stellar and whose passion and devotion served to ensure the continuity of the Arts Council by regularly exhibiting his outstanding palette knife paintings in the Pelican Art Gallery and also helping to guide and nurture younger enthusiastic artists through the years. Fielding joined the BAC shortly after it was inaugurated on the 7th December 1957. Sir Hugh Springer, Sir William Douglas and Karl Broodhagen were some of the founding members of the organisation. In those early days Fielding and his young friends Clifford Hobbs, Roger Moore and Carlton Murrell , all young, energetic and exciting, would exhibit among artists the likes of Briggs Clarke, Keith Blackett, Gordon Parkinson, Basil Jones, Oscar Walkes, Maurice Drakes and Hubert Brathwaite. While his friends migrated to North America Fielding remained in Barbados and developed as one of the most sought after artists this country has ever produced. His paintings grace numerous private and public collections in Barbados and all around the world. He has several pieces included in the National Art Collection. His influence spreads far and wide as many were captivated just watching him manipulate his beloved painting knife, spreading the paint as freely as one would spread butter on a piece of bread. In a little while a captivating masterpiece would emerge with all the essential elements of line, colour, shapes and texture superbly represented. It seemed effortless in the hands of the master but many ambitious enough to attempt the feat would testify that knife painting a la Fielding Babb is no easy undertaking. Fielding enjoyed the company of others and was at ease socialising with the homeless street character as well as the elite from the business and political class. there was never an angry face if he was around since his jovial personality impacted anyone fortunate enough to be in his presence. Often, people would express surprise that he was so easy going and accommodating. All artists found out that they could approach him and receive sound criticism of their artwork. He particularly delighted in speaking to and motivating young emerging artists and was quick to compliment any improvements made. Exhibition openings at the Arts Council provided the ideal setting as artists conversed in little groups while enjoying light refreshment. Often Fielding would be the center of attention as he not only provided humour but also reminisced about the early days of the council and some of the departed artists and stalwarts.

Fielding knew Barbados inside out. He painted the suburbs in and around Bridgetown with the same passion he painted the many historical sites and architectural interests all around the island. He painted the rocky Atlantic coasts as well as the calm and serene panoramas overlooking the St. George valley. This man loved the outdoors and talk about him retiring as an artist was simply a myth as Fielding painted up until the very end. During the past year he frequently went out painting en plein air with few trusted younger companions and readily passed on the most invaluable advise. He spoke in a manner that all could understand yet he held the interest of all, inclusive of the passersby whose curiosity drew them to the scene where they too fell under the charm of this legend and national treasure. He collected antique objects wherever he went and enjoyed putting them on display so children especially could get a glimpse of our past. He invited many to come and visit his gallery at home. On behalf of the President, staff and members of the Barbados Arts Council I express deepest sympathy to the family of our comrade and mentor Fielding. We pledge never to forget his massive contribution through the years.

Photography of Fielding Babbâ&#x20AC;&#x2122;s art kindly supplied by Neville Legall

â&#x20AC;&#x153;Fielding Babb. Great artist. I first met Fielding in 1966 along with Roger Moore, Clifford Hobbs, Murrell, Virgil Broodhagen, and Llewelyn Xavier from St Lucia. They were all aspiring artists in a Barbados still undergoing serious appreciation for art. Fielding's name was actually Fielding Carter if I remember correctly, but he adopted the name Babb so that all the members of the group had names with double letters in them. These guys were the young pioneers of the art world who promoted themselves with Sidewalk Exhibitions around Barbados. There was one Gallery of significance and that was at the entrance of the original Hilton Hotel at Needham's Point. To say it was not a big room would be an overstatement, but it was in demand by the small but ambitious community of artists. The group was the most dynamic group of creative people at that time. When Fielding acted as judge during NIFCA, he along with Broodie (Karl Broodhagen) helped to develop parents' appreciation of their children's art at the community level. I hope that the NCF would take the opportunity of placing on its web site the catalogs it has of Fielding's exhibitions and samples of his work over the years that it has carefully stored for posterity. That is the best tribute that the Nation can give to a man who gave much to the Foundation to promote his love of art. My condolences to Fielding's Family. We have lost a great artist.â&#x20AC;? Baba Elombe https://www.facebook.com/baba.elombe

MARTINA PILE

SHANNON SMART

ELAINE STOREY

MARTINA PILE

ERROL BREWSTER

SHEENA ROSE http://sheenaroseart.wixsite.com/sheenarose

DAVID ALLEYNE

https://www.facebook.com/davidclairmontealleyne

JILL WALKER

JULIANNE GILL info@juliannegill.com www.juliannegill.com https://www.instagram.com/studioj2/

SIAN PAMPELLONNE https://www.facebook.com/pages/Sian-Pampellonne-Artist/856268574414449

HEATHER-DAWN SCOTT kinrarasutherland@gmail.com

KRAIG YEARWOOD kraigyearwood@gmail.com

AMANDA TROUGHT www.facebook.com/Realityarts-90019761735/

LORNA WILSON

HEIDI BERGER www.heidiberger.com Studio visits welcome +1 (246) 843 5296

JOANNA WHITTAKER

JO ROBINSON

KRISTINE DEAR cyberbabe@caribsurf.com (246) 835 1166 http://cyberbab9.wix.com/just-imagine

ALISON CHAPMAN-ANDREWS

TESSA KERR

HELENE PAQUET http://www.helenepaquet.com/wordpress/

BARBARA PICKERING

CATHY ALKINS

Photography by Andre Williams

TRACEY WILLIAMS

VANITA COMMISSIONG

www.onthewallartgallery.com

ONEKA SMALL oneka@coredesignsandconcepts.co m

RIVENIS BLACK http://rivenis.net/ http://diskordiacomic.blogspot.com/

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/

SUSAN MAINS www.susanmains.com

ASHER MAINS

www.ashermains.com

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 â&#x20AC;&#x201C; + 1 246 264 7448 www.rosemary-parkinson.com www.facebook.com/BarbadosCulinaryJourney

Barbados Bu'n-Bu'n, a collector's item, has won 4 awards for Barbados â&#x20AC;&#x201C; Best Photography, Best Design, Best Historical Recipes, Best Self-published Book â&#x20AC;&#x201C; then against 5 of the best books in the world WON Best Self-Published Book In The World and honoured at the Frankfurt Book Fair 2015 with Best of the Best In The World by the Gourmand World Cookbook Awards 2015.

Barbados Bu'n-Bu'n has been called "a national treasure" and is being used by our BTMI and BIDC as gifts for dignitaries. The book costs BDS$300 ( $150USD) in Barbados, and is available at Cloister Bookstore, Relish Limegrove, Sandy Lane Golf Club, Cafe Coffee at Washington House, Barbados Golf Club (Durants), Holders Farmers Market (Sunday), Artsplash Gallery (Hastings), just to name a few. For wholesale enquiries (3 or more) call HILARY KNIGHT at 246 432-1169 OR MESSAGE ROSEMARY PARKINSON ON Facebook. BOOKS NOW AVAILABLE IN ENGLAND.

“Come with me. Experience pipes that stan’. Boards that jukk. Jars that are unripe monkeys. Frogs that whistle de tune of a band tucked and a goose on four legs that doan mess with a perky gutter. Hucksters and markets. Farmers and food. Secret recipes deep inside Miss Harriet Boyce and Mrs Jones…man dem gots a mobba-ton o’ tings gine on! Meet Miss Carnetta and she bush fuh medicine; and de pork dat is fat but does like to swan ‘roun a Bridgetown street while sugar an okra-mush hit de artsy-fartsy theatre in Christ Church wrapping up de gap, while reggae swarms ovah de bar hold up wid boisterous wild boars! Music and love. Leh muh show you how to sip on swank with sunsets and full moons but Lawd, as You is my Shepherd, help muh to mekk de people dem beware of donkeys of steel ‘cause Shaggy Bear gots Miss Sally in de pot and she wining an’ dancing to she own tune. Follow me closely when Crop Over done an ‘Kissmuhwillwill’ mount he rums in a shop at Sweet Bottom, happy as breadfruit in a pickle when truff be known. I gine show how a one an two muss dance cuz a cutter ent a cutter wid’out Cuzz, and how the taste of jam dat is jelly sweet cause de peppah hot! Buh wait…I cyan’t forget we gots a cake made with fish in a pot dat bucks. An’ salt baths fuh Sunduh pork too, caw Miss Clarke seh one should’ah nevah eat an forget always remembering an eyeful en a bellyful although, we does know she born a lickmout! So follow de adventure as I turn to history. Great houses and chattels. Bussa & Rachel. National pride. Fish that fly and one dat snaps on anudder called jack. Learn that coucou is not a bird but does eat nice wid a cat dat lives in de sea. Doan tell a soul buh I even teach ’bout lobsters wearing slippers, and tamarind with balls, an bitches black an sweet, men dat does drink beers in banks. Believe you me – BARBADOS BU'N-BU'N gine spill de proverbial beans.. caw I ent known fuh keeping no secrets.” Now as an E-BOOK: https://www.amazon.com/dp/B01MXVDSI7 https://www.amazon.com/dp/B01MQT867S https://www.amazon.com/dp/B01N0NZZIM https://www.amazon.com/dp/B01N6E056V

ABOVE BARBADOS Have a look at the higher resolution image (and zoom around) at http://www.abovebarbados.com/sites/default/files/batts_rock_panorama.jpg Would you believe this is a reduced/resized image - the original is double the width/height! Above Barbados offer high-definition aerial photography and video, packages available from $500BDS. Contact Above Barbados today on 231-9583 to discuss your requirements and let us get those stunning shots from a new perspective! Like us on Facebook https://www.facebook.com/AboveBarbados Follow us on Twitter https://twitter.com/AboveBarbados Join us on Google+ https://plus.google.com/+AbovebarbadosPhotography

TIYI BY DESIGN www.tiyibydesign.com

"PERSPECTIVES, The Opposite of Red & Orange" January 27 - March 28, 2017 ARTSPLASH Gallery's group exhibition Featuring the work of: Gordon Ashby, Paola Baldi, Cindy Lou Edgehill, Rachel Gray, Carla Hinds, Dwayne Harewood, Rafza Nehaul, Rosemary Parkinson, Martina PilÃ©, Heather Dawn Scott, Morissa Singh, Sherrideane Skeete, Lorna Wilson Opening reception: Friday January 27th from 5.30pm - 8pm Open daily : Monday-Saturday: 9am - 3pm, Sunday: 9am - 1pm

TANDEM "where function, form and meaning coexist ". This cooperative project and design store showcasing contemporary design by Barbados resident designers and artists continues at The Colonnade Mall, 1st Floor, East Wing, Broad Street, Bridgetown, Barbados. Monday ( by appointment). Tuesday - Saturday 10AM - 4PM. https://www.facebook.com/tandemovement/

JUST CALL ME SARAH The Colours of a Woman Cher-Antoinette is a scientist, writer and visual artist. Her inaugural solo-exhibition is in association with the Errol Barrow Centre of Creative Imagination (EBCCI) UWI, March 2017. The theme of the exhibition “Just Call Me Sarah: The Colours of a Woman” was conceived in part by the unfortunate circumstances surrounding the last days in the life of Saartjie Baartman (Sarah). This KhoiKhoi woman of South African descent was made to believe that she would have a better life in Europe in the 1800’s, with wealth and prosperity, if she agreed to showcase her attributes – her ability to sing and dance and more importantly, her physical characteristics which were never before seen by the white Europeans. The story is short, Sarah was ‘stolen’ from her homeland and sold for display in London as a “Phenomenon”. She was ridiculed and objectified and died a lonely, painful death having been placed into a life of abuse and prostitution such that we may not be able to comprehend. Five years she lived and died in Europe, a life filled with ridicule, abuse and objectification – all because she looked different with large breasts, spreading hips, an ample buttocks (a genetic condition called Steatopygia) and an elongated labia. Her objectification was imposed upon her. Her hyper-sexuality was bestowed on her and her bodily shape was used to signify (albeit incorrectly) the close relations between black people and animals (orangutans) and also to stand as proof of ideologies regarding black female primitivism. “The history of her exploitation touched a raw nerve in me, maybe because I also am a full figured woman, with possibly a similar genetic situation. But more importantly I am very concerned in the manner in which this present generation is embracing such self-objectification and in my mind tainting the beauty of the full figured woman. Many have chosen to initiate or be comfortable with their socially imposed objectification and in some instances have ridiculed themselves and participated in setting a stage where their perceived value is diminished.The lines of sensuality and sexuality have been blurred significantly. The Colours seen in my portfolio speak to the wholesomeness of womanhood, the joy of being a woman and the fact that beauty and strength come from within with the guidance of that which the Universe in its Divine Order has presented to us.” There are 25 pieces to be displayed with the primary media being singularly and a combination of watercolour, pen/ink, and charcoal, acrylic inks on paper and acrylic on canvas. Cher-Antoinette cherantoinettestudio@gmail.com

www.cherantoinettestudio.com

239-8617

"The first time was historic, this second participation is truly ground-breaking. It is the first time that a country from the Caribbean, aside from the art giant of Cuba, has shown in back to back biennales. Jamaica participated once, and Bahamas once, but up to now Grenada is the only island from the Southern Caribbean to participate. It says a lot about the determination of the artists and the commitment of the Ministry of Culture to once again take on this task of showing Grenada’s art on the world stage. The exhibition will open on 12th May at its Official National Pavilion on 417 Fondemente Zattere and extend through the end of November. The Honourable Senator Brenda Hood as the Minister of Culture appointed Dr. Susan Mains as Commissioner, and Mr. Omar Donia of Contemporary Practices as the Curator. " https://artandsoulgrenada.com /…/57th-biennale-di-venezia-g…/ Asher Mains, Susan Mains and Christine Cornier were featured in the November 2016 issue of Barbados Visual Arts Magazine. Link here https://issuu.com/…/docs/november__2016_arts_event_magazine_

ICIL PHILLIPSâ&#x20AC;&#x2122; Theatre Eyes Very up to date on both local theatre and overseas happenings. Link here https://www.facebook.com/groups/354529934596080/964541386928262/

THE FESTIVAL ART GALLERY At Hastings Farmers Market, Artsplash, Hastings, Ch Ch

EVERY Saturday The Festival Art Gallery is a mobile art gallery showing in excess of 50 local Barbadian artists who are painters, ceramic artists, sculptors and photographers. Bringing Art To The People kathymyearwood@gmail.c om

NIKOLAS SEALY nsdesigns74@gmail.com www.facebook.com/pages/NS-Desig ns/446661088688420?ref=hl

KHARY DARBY

kharydarby@gmail.com 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 & GALLERY Millhouse, Canewood • St. Michael, BB 11005 • Phone (246) 271-6509 • Cell (246) 266-9432

Fresh Milk supports excellence in the visual arts through residencies and programmes that provide Caribbean artists with opportunities for development and foster a thriving art community. Founded in 2011, the organization offers professional support to artists from the Caribbean and further afield. Fresh Milk seeks to stimulate critical thinking and cultivate excellence in contemporary visual art. Its goal is to nurture artists, raise regional awareness about contemporary arts and provide Caribbean artists with opportunities for growth, excellence and success. Website: http://freshmilkbarbados.com Facebook: http://facebook.com/FreshMilkBarbados Twitter: http://twitter.com/FreshMilkBdos Instagram: http://instagram.com/freshmilkbarbados Youtube: http://youtube.com/FreshMilkBarbados Tumblr: http://freshmilk-books.tumblr.com

THE CRANE GALLERY The Crane Gallery is the centre piece of the historic Crane Resort and hosts the work of an eclectic mix of established and up-and-coming Barbadian artists. For more information call 423-6220 or email 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

Errol Barrow Centre for Creative Imagination, UWI For further information, contact De Carla Applewhaite at 417-4776 decarla.applewhaite@cavehill.uwi.edu www.cavehill.uwi.edu/ebcci

Our Mission To fuel the development of culture through training, research and the creation of opportunities in cultural industries. The Role of the NCF The NCFâ&#x20AC;&#x2122;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

QUEENâ&#x20AC;&#x2122;S PARK GALLERY

Queen's Park Gallery is temporarily(?) located at The Pelican Centre, #12 Princess Alice Highway, 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 FRAMING STUDIO At the Best of Barbados Head Office, Welches Plantation, H’way 2A

573 6904

THE FRAME & ART COMPANY Millhouse, Canewood • St. Michael, BB 11005 • Phone (246) 271-6509 • Cell (246) 266-9432 ART SUPPLIES THE ART HUB James Fort Building, Hincks Street, Bridgetown, St. Michael. Tel: 436-2950Monday - Saturday 8.30am - 5.00pm (Easy access to parking by the old Heliport Pad) LAURIE DASH, Bay Street, Bridgetown.

ISLAND FURNITURE LIMITED www.islandfurnitureltd.com

BARBADOS MUSEUM AND HISTORICAL SOCIETY www.barbmuse.org.bb

BARBADOS MUSEUM AND HISTORICAL SOCIETY SHOP www.barbmuse.org.bb

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